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


Rose Korber

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Contemporary Art Auction Thursday 26 February 2015 Regatta Centre, Royal Cape Yacht Club The auction takes place in conjunction with The Cape Town Art Fair 2015 Enquiries Emma Bedford / 021 683 6560 Ruarc Peffers / 011 728 8246


Kunsgalery Art Gallery

GALA 20 YEAR (1994 - 2014) Summer Exhibition

JH Pierneef - ‘Dar es Salaam’ Gouache 30cm X 37cm

JH Pierneef - ‘Middelburg’ - Waterverf 28cm X 44cm - 1919

JH Pierneef - ‘Hardekool’ Linocut 37cm X 29cm

to be opened by

Jan “Boland” Coetzee on Thursday, 20 November 2014 at 19:00 at the Stellenbosch Art gallery, 34 Ryneveld Street, Stellenbosch Preview from 10:00

Spilhaus Nita – Oil on board – 44×59 – ‘Rondebosch’

Florian Junge - ‘Without Limits’

Conrad Theys – 45 x 60 cm – oil on canvas – ‘Winter Khayalitsha’

Stellenbosch is a renowned centre for the arts. Stellenbosch Art Gallery showcases an extensive selection of paintings by old masters, such as Gregoire Boonzaier, Francois Krige, Walter Battiss, Hugo Naude, Nita Spilhaus, Piet v. Heerden, Jan Volschenk and many more. Represented contemporary artists include Aviva Maree, Conrad Theys, Eben vd. Merwe, Ryan Hewett, Gail Caitlin, KofÀe Pretorius, Clare Menck, Roelof Rossouw, Frederike Stockhuyzen, Solly Smook, Jimmy Law, Hermann van Nazereth, Florian Junge, Wilko Roon and many more. Sculptures by Florian Junge, Louis Chanu and Ernst Schneider. Hand blown glass by David Reade. Ceramics by Rika Senekal and Hennie Meyer. We are celebrating 20 years of good quality art by South African artists for art lovers and the discerning art buyer. Join us in an atmosphere of good music, wine and art, and participate in lively discussions with artists and art lovers. wines will be served; Tel: 082 566 4630 / 076 279 2175

Gallery Hours: Monday - Friday 8:30 - 17:30 Saturday 9:00 - 13:00

Exhibition closes on 31 January 2015

Heather Gourlay Conyngham “A Youg Man�, oil on canvas National Portrait Award Winner (2013)

Sanlam Portrait Award 2015

Prize awarded for the winning portrait Enter by Thursday, 23 July 2015







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Team Nesbit - SA’s Stained Glass Duo

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THE SUN NEVER SETS ON WILLIAM KENTRIDGE The Art Newspaper | Charlotte Burns: Work by the South African artist has been touring in South America and will go on show in Mexico and across East Asia in 2015. Fans of the South African artist William Kentridge will be able to see his work across three different continents over the next year. A season of exhibitions and book launches dedicated to the artist opens in South Africa next month, while a separate exhibition, “Fortuna”, which began in Rio de Janeiro in 2012 and has been touring through Brazil and Colombia, is expected to open in Mexico in 2015…

j o hans b o rma n F I N E



DIRECTOR GENERAL OF DEPARTMENT OF ARTS AND CULTURE SUSPENDED Artthrob | M. Blackman: Several media groups are reporting that the Director General of the Department of Arts and Culture, Mr Sibusiso Xaba, has been suspended. The newly appointed minister, Nathi Mthethwa, has acted on the fact that the Department has received a qualified audit from the Auditor General. In a statement that appears on the Department’s website Minister Mthethwa is quoted as saying: ‘The Auditor-General’s latest report is frankly… STERN CONTINUES TO DOMINATE THE SA ART AUCTION MARKET WITH BONHAMS £962,500 (R17.6M) LATEST SALE Bonhams: The grande dame of South African art, and one of the topselling female artists of all time, Irma Stern once again dominated the Bonhams sale of South African art in London’s 1st October 2014 sale. Top item in the sale was her ‘Still life with African Woman’ which sold for £962,500 (R17.6m). The 128 lot sale made a total of £2.4m (R44m). Two paintings by Alexis Preller that were inspired by the artist’s international travels also fetched high prices…

Owusu Ankomah ‘Prelude to the Microcron’ No19

BLACK & WHITE Incorporating

REMBRANDT IN SOUTH AFRICA: OLD TOWN HOUSE, CAPE TOWN Artslink: Iziko Museums of South Africa invites visitors to experience the first-ever national exhibition of etchings by revered Dutch artist, Rembrandt van Rijn (1606 - 1669). Opening at the Iziko Old Town House on Thursday, 2 October 2014 (First Thursdays), patrons can enjoy free entry to the museum from 17h00 – 21h00. The exhibition marks the centenary of the Iziko Michaelis Collection of Dutch and Flemish paintings presented to the people of South Africa in 1914, and housed at the Old Town House… WOMEN APPRECIATE ART MORE THAN MEN: RESEARCHERS FIND MALES FOCUS ON THE ARTIST, WHILE FEMALES LOOK AT THE ART ITSELF Mail Online | Mark Prigg: The sexes have very different reactions when they look at art, researchers have found. They say that in fact, women appreciate art far more. Men on the other hand, focus more on the artist’s background and authenticity. The Michigan State University study, which appears in the journal Psychology & Marketing, is the first to investigate how important an artist’s ‘brand’ is to average consumers when they appraise art…


Jaco Sieberhagen 8 NOV TO 6 DEC 2014 Tel: 021 683 6863 E-mail: 16 Kildare Road, Newlands Jaco Sieberhagen ‘Navigator’

HONG KONG PROTESTERS TAKE TO ART Aljazeera: Protesters turn downtown Hong Kong into art gallery. Sketches, installations, paintings and posters are starting to take over the highway occupied by protesters. People are using art to continue their peaceful movement, and it’s changing the way the city is viewed by the rest of the world. Al Jazeera’s Divya Gopalan reports from Hong Kong… TATE AND OIL: DOES THE ART WORLD NEED TO COME CLEAN ABOUT SPONSORSHIP? The Guardian | Susanna Rustin: If campaigners get their way, the Tate may soon have to disclose how much money BP gives it. Why the secrecy? And is sponsorship harming the arts? In a cramped second-floor room in an office block mostly used for immigration hearings, one of the most famous museums in the world is fighting to keep a secret. In March, the Information Commissioner ruled that Tate must, against its wishes, reveal some of what was said in meetings where the latest of several sponsorship deals with oil giant BP was discussed...

Read these stories and more, Art Times Daily News: 7

Team Nesbit SA’s Stained Glass Duo Hunter is the doyen of an uncommon art form. Together, with his wife Ruth, they have produced exquisite stained glass work in over 94 private homes, churches, universities and businesses; and have done restoration in many public buildings throughout South Africa. Although separately commissioned for many works, they almost always assist each other’s work.The couple have been married for 37 years, which Ruth refers to as “a brilliant working partnership”. Hunter admits that his wife is “essential to all [his] efforts”. The Nesbits have a design studio over-looking Port Elizabeth’s Algoa Bay. When not working on stained glass panels (and watching the dolphins and whales visiting the bay), Hunter paints while Ruth designs, writes and illustrates children’s books. The couple have had many joint exhibitions over the years. Hunter was appointed Dean of Port Elizabeth Technikon’s Art School in 1969 (now the Nelson Mandela Metropolitan University School of Art and Design). He studied the art of stained glass in the early 80’s. He then stood down as Dean to start the

school’s Stained Glass Department in 1985. This was the first tertiary training of its kind in South Africa, and initiating it won Hunter the Simon Van der Stel Foundation Certificate of Recognition. Some of his students have proceeded to work on Windsor Castle, Westminster Abbey and big corporate projects abroad (and one student became his wife). Hunter retired from the University in 1993 but still maintains his association with the school, writing extensively on art, art education and stained glass art and fabrication. Ruth’ s many artistic achievements include a four month stint as invited Artist in Residence at Wellington College, England. She was also the first artist from SA to be awarded an exhibition at the Commonwealth Institute’s gallery in London in 1997. Kouga Harbour commissioned her to make two bronze sculptures. Which were installed on Mandela’s 90th birthday. The couple were jointly awarded the Ernest Oppenheimer Memorial Trust Award in 1984 and 1995 they won a 4-month studio residency at the Cite Internationale des Arts, Paris.



Hunter explains the finer details of the Nesbits’ stained glass works: “The glass required is mouth-blown first, into cylinders… With wooden bats the cured glass is flattened into a sheet which is then placed in a tunnel kiln through which it travels overnight.” “The window making process begins with a sketch or… a watercolour rendering of the design… The next step is a full scale ‘cutline’ cartoon on which the coloured mouth blown glass is cut and… stained with vitreous oxides (predominantly yellows and oranges) to enliven the composition is carried out… Correct kiln firing will ensure permanence of the painted and stained image on the glass.” The pieces are then joined together using lead, solder and putty. This completes the work of art and ensures that it is waterproof. “The history of stained glass goes back a long way and some very old glass still remains

despite wars, revolutions and the proclivity rooted in mankind to destroy that which he does not understand or approve. In the Musee de l’Oovre Notre-Dame Strasbourg, for example there is a Head of Christ from the Abbey Church of St. Peter, Wissenberg, Alsace, dating back to c.1060 AD, while in the high window of the nave of Augsburg Cathedral, three prophets – Jonah, Daniel and Hosea from c.1100 AD still look down on us. The glass though mottled and worn, on the external face, retains the sparkling colour harmony and strong drawing on the inner face.” “Well, what makes a good window? The most obvious characteristic will be the design, so, to craft, must be linked to art. You are probably familiar with the phase, ‘the medium is the message’ – this most pertinently applies to glass, for it is, the only medium in which a light source governs the appreciation – either lifts and entrances or subdues and destroys.”

Among their achievements are the exceptional stained glass commissions that the couple have produced in recent years. Ruth Nesbit excitedly explained some of them to the Art Times: “All Things Bright & Beautiful” Prayer Windows for Parish Church Of St. Saviour, PE: “Meant to beckon creations natural message of hope, healing and life, it was to be a prayer window, consisting of 5 panels, which would honour forever, the memory of loved ones, family and especially children. These windows offer a bridge; a way to work through loss and a reminder to us – through the ongoing rhythm of their story – that nature’s seeds of hope and healing promise will continue to push their way back into our lives, even when our sorrow seems bigger than life itself. Aspects of nature – animals, birds, and insects come alive in the glass and contain certain elements of humour as confrontation and relationships abound.” “St. Francis of Assisi preaching to the birds and animals” for St. Hughs Anglican Church, Newton Park, PE: “This is a 9-panel window we did for a client. The brief went well and they agreed on everything we suggested – not always the case – but at the end they said that there was just one more thing; they wanted their German Shepherd, Duke in the window too! Now the song ‘How much is that doggie in the window’ means so much more to me! Hunter did the drawing of St. Francis and I did all the animals.” Rose Window for St. Anne’s Diocesan College, Hilton, KZN: “We won the tender to design and fabricate this Rose Window against three other design studios. Our work was presented to the committee by the then Chaplin, Stuart Menigke whose great sense of humour indicated that the mandate from the committee was that they wanted the Nesbit ‘Wow Factor’. 12 Angels in the ‘petals’ of the window hold a symbol of the Fruits of the Spirit – e.g. Love, Self Control, Gentleness etc. Each symbol was sourced from an African design representing each word. The word is ‘soft etched’ – almost invisibly – around each symbol. The centre design Hunter based on a 16th century mosaic pavement in Westminster Abbey, which represents the beginning of earth. A central circle is surrounded by circles representing earth, wind, fire and water and the phases of the moon. For this design we used stunning antique mouth blown glass (meaning that each sheet of glass is unique!) from Hartley Wood, England.I did the etching and drawing whilst Amanda de Wet, Head of Stained Glass, at the NMMU University did the cutting and leading.” “Angel Window” for DSG Chapel, Grahamstown: “This is a 70cm circular window to fill the last open space at DSG, where Hunter and I had worked for over 3 years restoring the windows of the chapel and fabricating 10 more! We used French flashed glass, English mouth blown glass and German Roundels. The client wanted dolphins. You will see them swimming in the blue border. It was a very lovely, emotive window for closure on our work at DSG.” Now, at 66 and 81 years of age, Hunter and Ruth are working on their biggest project yet. It includes six panels of 300 x 50cm and a round window measuring 70cm in diameter. Northwood Children’s Chapel Windows, Mount Croix, PE: “The design process will fittingly embrace Hunter’s ‘angel’ theme as the chosen anthem for the Children’s Hospice is from the Hansel and Gretel Opera as follows: ‘When at night I go to sleep, 14 Angels watch do keep. Two at my head are guarding; Two at my feet are guiding; Two are on my right hand; Two are on my left hand; Two who warmly cover; Two who o’er me hover; Two to whom ‘tis given to guide my steps to heaven’. The window spaces within the body of the chapel have been based upon the Matisse Chapel in Vence, France. Over the doorway which leads into the chapel, a circular design by Hunter entitled ‘Heavenly Bodies’ will be emotively appropriate. Knowing first-hand the experience of losing a precious child, the commission will undoubtedly become an extremely meaningful ‘Opus Dei’ as its fabrication unfolds.”

OPPOSITE PAGE, top to bottom:

THIS PAGE, top to bottom:

Ruth and Hunter Nesbit in their home.

Rose Window for St. Anne’s Diocesan College, Hilton, Natal (August 2008 - January 2011). A detail image of this window appears on page 15 (at the start of the Gallery Guide). Chapel Matisse in Venice, France on which the Northwood Children’s Chapel Windows will be based, Mount Croix, Port Elizabeth (May 2014 - present)

Photo: Basil Brady

“Angel Window” (1 round) for DSG Chapel, Grahamstown (January - September 2013) Details of “All Things Bright & Beautiful” Prayer Windows (5 panels) for Parish Church of St. Saviour, Port Elizabeth (October 2005 - November 2006)

Design for “Heavenly Bodies” window (1 round) surrounded by selections of Hartley Wood Glass, for Northwood Children’s Chapel, Mount Croix, Port Elizabeth (May 2014 - present) “St. Francis of Assissi preaching to the birds and animals” (9 panels) for St. Hughs Anglican Church, Newton Park, Port Elizabeth (January - July 2007)



Edoardo Villa

The Knot (1981) Edoardo Villa arguably became South Africa’s foremost Abstract sculptor in the 1960s and his monumental steel sculptures are still visible all over the country. Many of them are permanent fixtures and are site specific. Perhaps the most well known is “The Knot” outside the Cape Town Civic Centre. At roughly 7 metres in height, it is one of the largest public sculptures in the country. Its iconic shape and bright colour etch it future into one’s memory. While studying sculpture in Milan, World War II began and Villa was conscripted into Mussolini’s Italian army. A year later he was captured in North Africa and transferred to South Africa as a prisonerof-war. During his imprisonment, Villa was commissioned to sculpt portraits of local dignitaries and produce other commissioned work. Upon his release, Villa decided to remain in South Africa. In 1961, he became a member of the Amadlozi (“Spirit of our Forefathers”) Group – so named for its conscious appropriation of African sculptural traditions. Other members of this group included Cecil Skotnes, Guiseppe Cattaneo, Cecily Sash and Sydney Kumalo. Said to reflect the ‘essence’ of Africa, their works were exhibited extensively in Europe during the 1960s and 1970s. Edoardo Villa’s artworks came to be seen as monuments to the rapid industrialization that swept over

Johannesburg after the Second World War. This was mainly because of their impressive scale, industrial cast steel construction and their prevalence in important public spaces in the city. Ironically, these ideals strongly contradict the philosophy behind Villa’s work; which is a strong humanist approach. Villa once revealed in an interview: “If anything could sum up my fundamental concern in art, it is that of the human and the individual – the human condition… Museums are marvellous but human participation, physical proximity and tactile engagement are more important.” Most Capetonians and visitors to Cape Town have no idea as to what the abstract structure outside the Cape Town Civic Centre represents. Some refer to it as the ‘bent paper clip’. Meaning is found in the artwork’s title. “The Knot” metaphorically ties the city together – from the mountain to which it stretches at one end, to the foreshore at the other. Created in the height of socio-political unrest, shortly after the artist’s overtly political artwork (“The Confrontation”, in 1978), we can presume that “The Knot” has a similar conceptual approach. To be participated with not only tangibly but also in spirit, it projected a hope that all the citizens of the Mother City be united. This hope was to be extended to the rest of the divided nation. By Lyn Holm

SOURCES CONSULTED: » Activities. 2013. Floreal House website: » Arnaldo Pomodoro and Edoardo Villa: A Sculptural Dialogue. 2010. Smac Gallery website: » Edoardo Villa. 2011. 20Stellenbosch website: com_content&view=article&id=30&Itemid=33. » Edoardo Villa. Wikipedia:

Below: Edoardo Villa, “The Knot”, 1981, Steel, 6.75 m high Collection: Iziko South African National Gallery



Nicholas Hlobo Iimpundulu Zonke Ziyandilandela (2011) Hlobo’s “Iimpundulu Zonke Ziyandilandela (All the Lightning Birds Are After Me)” (2011) refers to an isiXhosa song about the ‘iimpundulu’ vampire. It is said to be the servant of a witch; presenting itself in the form of either a bird or a handsome young man (the latter only in the eyes of women). An insatiable appetite for blood and sex drives it to terrorise villages, consuming humans and livestock alike. Hlobo’s impression of the mythical beast is as ominous as the song suggests. A fleshless skull forms the head of an enormous dragon-like bird. Its black wings cast the exhibition hall into deep shadow and its shorter appendages seem hurriedly appropriated, like the mis-matched limbs of Frankenstein’s monster. Its skin is rubbery, looking sickly. Hlobo sees rubber as a metaphor for the evolution of cultures as time moves forward. The inner-tube tyre rubber that forms a large part of his monster’s construction, would once have been produced organically, but is now synthetic.”Through my works I attempt to create conversations that explore certain issues within my culture as a South African,” says Hlobo. “The conversations become a way of questioning people’s perceptions around issues of masculinity, gender, race and ethnicity.” Hlobo re-evaluates and reconstructs elements of Xhosa culture to addressing its taboos. Homosexuality is deeply offensive and unsettling to the Xhosa tradition, which takes great pride in masculinity, so much so that one of its highest rituals it initiating boys into manhood. Hlobo controversially says that it is in queer culture he finds “joy and celebration in being a man” equal to that of Xhosa

culture. Hlobo toys with the taboo by feminising his ‘iimpundulu’ vampire. This overwhelmingly masculine symbol of violent power and sexual furiosity is offset by the pink and red ribbons hanging delicately from it. A queer ‘iimpundulu’ vampire is traditionally unimaginable but Hlobo brings it into discussion. He titles his work in isiXhosa to firmly anchor it to the Xhosa culture, but also to his status as South African. He believes that “being South African, and coming from a country that is often described as the third world, we have to show that we are proud of our country and create art that demonstrates this.” “Iimpundulu Zonke Ziyandilandela” was proudly and prominently displayed at the art world’s most prestigious biennale, representing South Africa on its own – completely independent of the South African pavilion. Chief curator of Puma Creative, Mark Coetzee, described the work as a Biennale “highlight” and wasted no time securing its purchase. By the second day of the 2011 Venice Biennale previews, it was already allocated for the Zietz Museum of Contemporary African Art. The social value of “Iimpundulu Zonke Ziyandilandela” is undeniable. It has the potential to shift prejudices problematic to South African (and global) society; it celebrates South Africa’s cultural heritage and preserves a story destined to be lost as oral tradition fades away. After independently representing South Africa at the Venice Biennale and being included in an important museum collection, Hlobo’s artwork has both literally and figuratively positioned itself among the greats. By Lyn Holm

SOURCES: » Annaliese Cassidy. 2012. Transcript of Visual Arts-Historical and Critical task 2/2012, Prezi website: » Whitney Lowell. 2014. Impundulu. Vampire Underworld website: » Kopano Ratele. 2009. Pride and Playfulness: Hlobo’s Subversive Love of Xhosa Traditions, in Nicholas Hlobo, edited by Sophie Perryer. Cape Town: Michael Stevenson, 19-22. » Cristina Ruiz. Arsenale dragon is returning to Africa (03/06/2011), The Art Newspaper: http://www.designindaba. com/news/rubber-dragon. » Sue Williamson. 2011. Venice Biennale lightning bird by Nicholas Hlobo sold on day one of the previews. Artthrob website:

Nicholas Hlobo, “Iimpundulu Zonke Ziyandilandela”, 2011, mixed media, 250 x 460 x 1 000cm (dimensions variable), sound recorded by Ndindodwa, Izulu lindila band (duration 23 min 25 sec). Commissioned for the 54th Venice Biennale and installed in the Arsenale. Image courtesy: Artist and Stevenson, Cape Town and Johannesburg




AFRICANA portfolio 2014

The SA Print Gallery proudly presents it’s new Africana Portfolio 2014 of over 1 200 exciting prints at

Prices start from R 180 per A4 print (R 390 framed) 109 Sir Lowry Road, Woodstock, Cape Town Tel 021- 4626851

Call for entries for R100 000 SPW Sanlam Portrait Award 2015 Entries are now open for the second Sanlam Portrait Award to celebrate and showcase the best original portrait artwork in South Africa. Sponsored by Sanlam Private Wealth, in partnership with Durbanville’s Rust-en-Vrede Art Gallery, the award offers a significant monetary prize of R100 000 and a viewers’ choice prize. The closing date for entries is 23 July 2015. The first Sanlam Portrait Award, held last year, attracted a staggering 1 783 entries. KwaZulu-Natal artist Heather GourlayConyngham walked off with the top prize for her nude male portrait titled “A Young Man” (177 x 80cm, oil on canvas). The competition is open to artists of 18 years and older who are residents of South Africa. Work entered should be based on a sitting,

or study from life, and the human figure must predominate. No sculptures, photographs and works created using software or other digital means will be eligible. All works will be judged anonymously by a panel of three independent judges. They will identify the winning portrait and select 39 other entries to tour the country as part of an exclusive exhibition. The panel will be convened by Stefan Hundt, head of the Sanlam Private Wealth art advisory service and curator of the Sanlam Art Collection. Daniël Kriel, CEO of Sanlam Private Wealth, says “Many of our clients have a passion for art, and invest in art as part of a balanced portfolio. We launched the first Art Advisory Service in South Africa in 2010 and it is a platform that has always been a strong part of our business. Partnering with Rust-en-Vrede

Art Gallery on the Sanlam Portrait Award was a natural fit for us and we are pleased to be continuing this initiative.” Kriel says the outstanding quality and standard of the entries received in last year’s competition was testament to the range and depth of talent South Africa has to offer. “We are looking forward to seeing entries that push beyond the normal and accepted for the second competition.” The name of the overall winner will be announced at a gala event to be held at the Rust-en-Vrede Art Gallery on 27 August 2015. For more information on the competition, entry forms and competition rules, please go to or

From the top 40 entries of last year’s competition: Top row, left to right:

Helena Hugo, “July en Praakie” Ian Grose, “Mavu and Kyle on Studio Couch” Susan Grundlingh, “Myself with My Favourite Plants” Middle::

Ruan Huisamen, “A Portrait of the Artist as a Young Woman” Bottom, left to right:

Mark Kaplan, “Sunday Morning” Sanell Aggenbach, “The Secret Life of a Mathematician” 13


ROBERT MAPPLETHORPE 4 November 1946 – 9 March 1989 Best known for his depiction of homosexual eroticism, Mapplethorpe’s photographs have incited controversy and raised questions of art censorship. He was born on Long Island, USA. Mapplethorpe did not intend to be a photographer. He mainly made assemblage constructions incorporating images from pornographic magazines with found objects and painting. Mapplethorpe turned to photography in order to create his own images for collages. He is now considered among the most important American photographers of the twentieth century. He died from AIDS at age 42.

DIANE VICTOR 26 November 1964 Diane Victor is renowned for her prints and drawings. She grew up on a small farm in Midrand. She makes art because, in her words, “I cannot just leave issues that anger or upset me alone”. She received her BA Fine Arts Degree from the University of the Witwatersrand, in 1986. She was the overall winner of the SASOL New Signatures Competition in 1986, and in 1988, became the youngest recipient of what is now known as the Absa L’Atelier Award. Her work can be found in important collections, including that of the Museum of Modern Art in New York.

» Robert Mapplethorpe. 2014. The website:

» Diane Victor. website: » Sean O’Toole. 2003. ArtThrob website: http://www.artthrob.

» The Guggenheim website: collections/collection-online/artists/bios/1391.

DYLAN LEWIS 7 November 1964 Dylan Lewis was born into a very artistic family in Johannesburg. Lewis first became a painter and it was only after the death of his father, well known sculptor Robin Lewis, that he began to explore sculpture. Lewis studied Fine Art at Cape Technikon in Cape Town. He then studied painting and taxidermy at the Ruth Prowse School of Art. Learning the skill of taxidermy would prove invaluable in Lewis’s future career as a sculptor. Lewis is one of only a handful of living artists to have had more than one solo auction with Christie’s in London. » Dylan Lewis. 2012. Everard Read Johannesburg website: http:// » Portland Gallery website: Dylan_Lewis/bio.

WILLIAM HOGARTH 10 November 1697 – 26 October 1764 Best known for his moral and satirical engravings and paintings, William Hogarth’s work was so unconventional that a new name – cartoon – was created to describe it. He was born in Smithfields, London, the son of Latin teacher who was jailed when he was unable to pay his debts. He attended classes at Sir James Thornhill’s free art academy in Covent Garden and eventually married Thornhill’s daughter, Jane. Hogarth’s satirical artworks addressed problems such as work ethic, alcoholism and cruelty to animals until he suffered from a paralytic seizure and never recovered. » William Hogarth 2014. The website: » David Ross. William Hogarth Biography. The Britain Express website: » Artist Biography. Smithsonian Libraries website:

AUGUSTE RODIN 12 November 1840 – 17 November 1917 François-Auguste-René Rodin is often referred to as the father of modern sculpture. He applied to the prestigious École des Beaux-Arts school, only to be rejected three times. Desperate to earn a living, Rodin worked as a decorative bricklayer for twenty years. Artist’s model Rose Beuret gave birth to Rodin’s only child. Rodin met Camille Claudel while teaching a sculpture class. The two became intense lovers but she left when he refused to leave Beuret. Rodin married Beuret only three weeks before her death. He died just nine months later. “The Thinker” marks their shared grave. » Auguste Rodin. 2014. The website: http://www. » Auguste Rodin Biography. 2014. Artble website: http://www.

CLAUDE MONET 14 November 1840 – 5 December 1926 Oscar-Claude Monet was born in Paris, France. The young artist was well-known for his caricatures. After meeting a local landscape artist, Eugene Boudin, Monet started to paint the natural world. In 1874, a critic insultingly dubbed Monet’s painting style “Impression,” since to him it looked like unfinished sketching. Monet fell in love with his muse Camille Doncieux, who later died of illness. Monet married his mistress, Alice Hoschede. He painted his famous water lilies, almost blind with both of his eyes severely affected by cataracts. » Claude Monet. 2014. The website:

JOHN THOMAS BAINES 27 November 1820 - 8 May 1875 John Thomas Baines was born in King’s Lynn, Norfolk, England. His father was a master mariner. After arriving in Cape Town in 1842, he became South Africa’s first official war artist and recorded the Eighth Frontier War (1850-1853). He became the artist for David Livingstone’s expedition to the Zambezi. Unfairly dismissed for theft, he travelled to South West Africa (now Namibia) in order to meet up with Livingstone and clear his name. When he arrived, Livingstone had already left. » John Thomas Baines. South African History Online website:

WILLIAM BLAKE 28 November 1757 – 12 August 1827 William Blake was a British, 19th century writer and artist, regarded as a seminal figure of the Romantic Age. From the age of 4, the artist claimed to see visions of God and angels. He studied engraving and grew to love Gothic art, which he incorporated into his art with imagery from his visions. In 1779 he was admitted to the Royal Academy of Art’s Schools of Design. Blake married Catherine Sophia Boucher, who was illiterate. He taught her how to read, write, draw and colour (his designs and prints). She supported him in everything he did, right up to his death 45 years later. » William Blake. 2014. The website:

DAVID GOLDBLATT 29 November 1930 David Goldblatt is one of South Africa’s most famous photographers. David was born in Randfontein, the son of Lithuanian-Jewish immigrants whom came to South Africa to escape persecution in the 1890s. David’s brother, Dan, served in the merchant navy and had brought a Contex camera home after his service. His parent’s purchased this camera for David, thus encouraging him to pursue his interest in photography. His big break came in 1964 when began work for Tatler and then Optima magazine. These opportunities gave him access to the Anglo-American Corporation for his book “On the Mines”. » David Goldblatt. South African History Online website:


Justice Mokoena (1 Nov) | Jan Jordaan (2 Nov) | Sue Dall, Zach Taljaard (3 Nov) | Ian Pells, Martyn Schickerling (4 Nov) | Usha Seejarim (5 Nov) | Vivien Kohler (6 Nov) | Scott Bryan Hart, Bridget Baker (11 Nov) | Coenrad Johannes Morkel, Susan Elaine Williams (13 Nov) | Marcus Neustetter (14 Nov) | Frederick Timpson l’Ons (15 Nov) | Jonathan Garnham, Selvin November (16 Nov) | Lynden Lund, Bettie Cilliers-Barnard (18 Nov) | Andrea Lewis (19 Nov) | Jeanne Hoffman, Henry Symonds (20 Nov) | Barbara Wildenboer, Eugene Hon (21 Nov) | Mark Rautenbach (23 Nov) | Chantal Louw (24 Nov) | Gerhard Schoeman (25 Nov) | John Thomas Baines (27 Nov) | Bronwyn Lace (28 Nov) FAMOUS, INTERNATIONAL ARTISTS BORN IN NOVEMBER:

Hannah Höch (1 Nov) | Richard Serra (2 Nov) | Robert Mapplethorpe (4 Nov) | William Hogarth (10 Nov) | Édouard Vuillard (11 Nov) | Auguste Rodin (12 Nov) | Claude Monet (14 Nov) | René Magritte (21 Nov) | Henri Toulouse-Lautrec (24 Nov) | Kara Walker (26 Nov) | William Blake (28 Nov) | James Rosenquist (29 Nov) | Marina Abramović (30 Nov) Ed’s Note: All content is appropriated from its source and includes elaboration for the sake of enrichment.


Ruth and Hunter Nesbit, Rose Window for St. Anne’s Diocesan College, Hilton, Natal (August 2008 - January 2011).




Rembrandt: Precursor of the ‘Selfie’? In an age where the giant plasma screen rules, and the cellular phone seems the only diminutive ‘frame’ worthy of our intimate meditations, a tiny 300 year-old etching might not appear to warrant the mental energy required for closer contemplation. But take any one of Rembrandt’s micro-masterpieces, blow it up to billboard scale, and witness how it miraculously retains its exquisite sense of detail, as well as the concentration and emotional intensity of the original. More famous in his lifetime for his etchings than his paintings, Rembrandt’s work was an international talking-point. Copper was a precious commodity back then, as was paper. Like hand-crafted banknotes, Rembrandt’s etchings were eagerly collected, discussed and traded. At one time they even served as high betting stakes during the height of the Dutch craze for trading in tulip bulbs, otherwise known as ‘tulipomania’. Before the advent of photography, their replication and their sharing became a primary medium of international artistic discourse. Although Rembrandt apparently never left the Netherlands, his influence was spread far and wide by this means. The murderous Italian artist Giovanni Battista Castiglione, for example; more famed for his criminal record than anything else, took on Rembrandt’s persona by his close imitation of his self-portraits and studies of Oriental heads. As a living artist-star, Rembrandt’s etched ‘selfies’ and his wide range of subjects set an international trend, proving that Rome in the 17th century looked as much to Amsterdam for artistic inspiration as the other way around. Rembrandt painted himself more than 40 times and etched himself more than 31 times. A new self-likeness appeared almost every year of his long career at least, often more. No other artist until Vincent van Gogh in the late 1880s was to explore the ‘self’ so intensively. In 1956 the Dutch film-maker Bert Haanstra made a short film, now available on Youtube, in which Rembrandt’s ‘selves’, made over 40 years as the artist aged, were filmed in chronological order, each morphing into the next, to mark the artist’s 350th birthday. Since the quarter centenary in 2006, Rembrandt-fever has revived again with the large “Rembrandt: The Late Works” exhibition that has just opened at the National Gallery in London. “Rembrandt in South Africa”, the biggest-ever display of over 110 of the artist’s etchings from local collections, allows us to come face-to-face with the real artist on home turf. Compelling as his etchings are on technical grounds, so is their emotional magnetism. Take his “Self Portrait with Saskia” (1636), for example, where, dressed in courtly attire and feathered hat, Rembrandt crams the love of his life into the picture space only 10 by 9 centimeters, in an embodiment of that old Dutch motto ‘Liefdebaartkunst’ (‘Love brings forth Art’).This is no sedate, conventional marriage portrait, but an open proclamation of affection stated with great immediacy. Saskia appears behind Rembrandt while he draws; both as his muse and his steadfast domestic support. When we confront this happy couple, we confront ourselves, much as we will when looking back at our own intimate selfies decades from now. Saskia tragically died only a few years later; and that in his later, calamitous bankruptcy, Rembrandt lost almost everything – except his passionate humanity. Undimmed, it awaits every visitor to this first-ever exhibition.

Rembrandt in South Africa: Pioneer Printmaker of Humanity and Modernity Iziko Old Town House, Greenmarket Square, Cape Town Open: Monday – Saturday, 10.00 – 17.00 closed Sundays Ends Saturday, 28 March, 2015 Top: Rembrandt, ‘Self Portrait with Saskia’ (1636) Below: Other ‘selfies’ by Rembrandt


ART TIMES #myRembrandt

#myRembrandt goes Walkabout A round your Exciting World

Rembrandt fever is in the air. The artist’s “Selfportrait as a Young Man” (1629) is a tiny must-see painting at Munich’s Alte Pinakothek. No larger than a human hand, it depicts the artist at the age of 23. His lips are parted, as if about to speak. He stares out at the viewer through wide-open eyes. The closure of the Alte Pinakothek’s Dutch rooms for renovations gave curator Bernd Ebert an idea to try something playful – to send exact replicas of the popular picture out to engage with the real world and to use twitter and Facebook to track the Rembrandt’s adventures. Thus was born the highly successful #myRembrandt project, which has just won the esteemed Virenschleuder Prize at the 2014 Frankfurt Book Fair.

Under the rubric of ‘SHOW REMBRANDT YOUR WORLD!’ museums worldwide were invited to receive a replica and take it to their communities. Photographed in all kinds of creative situations, the results could be posted on Twitter. Ebert immediately invited the Michaelis Collection to join in the fun. The project has already proved to be a remarkable way of engaging ordinary people with Rembrandt’s work. From joining the First XV Rugby Team at Rondebosch Boys’ High School for their end-of-year photograph, to taking a break in the sun at St James, Rembrandt’s visit to the Cape continues to enthuse and inspire!

Now resting from his travels, you can still join in the fun. Visit Rembrandt and his exhibition at the Iziko Old Town House on Greenmarket Square. Take your own selfie with his own remarkable little selfie, and post it to #myRembrandt on Twitter. By Hayden Proud (Curator, Michaelis Collection, Iziko Old Town House)

Top: Rondebosch Boys’ High School First XV Rugby Team pose with Rembrandt’s ‘Self-portrait as a Young Man’ (1629) Below: A young girl poses with Rembrandt’s ‘Selfportrait as a Young Man’ (1629) at St James Beach



John Kramer | Edited by Penny Dobbie After representing John Kramer’s paintings for 33 years, Penny Dobbie maintains that they are not only valuable as art but as the historical record that they represent. A book illustrating at least some of his works needed to be published. Many of the buildings presented in Kramer’s oeuvre no longer exist. Noticing the uniqueness of South Africa’s signage and architecture during the 1970s and sensing its transience, Kramer began documenting with his camera his hometown’s bioscopes, general dealer stores and corner cafes. It is these

photographs that would form the subject of his paintings. This process of recording the South African small town has continued for just over four decades. Through painting, Kramer succeeds in much more than representation. He captures light so vividly that the imagination begins to wander into nostalgia – filling in details like the soothing touch of a berg wind on one’s face, the soft din of chirping insects, the aroma of fish and chips from a nearby vendor… the comfort of a sleepy Sunday morning… Even his shadows are luminous.

Review by Art Times Staff Writer Published by Penny Dobbie Gallery, Cape Town, 2014. Available through emailing:

James Thackwray: An Unassuming Master | by George Ross Munro George Ross Munro saw the need to write this book because although James Thackwray’s art has featured in many prominent auctions, exhibitions and art publications over the years, little is publically known about the artist. This book reveals how Thackwray lived and why he faced prosecution to continue painting the inhabitants of District Six during Apartheid. It also compiles important historical information

about his presence in the art world and even some of his Haiku poetry. A broad collection of Thackwray’s greatest works are also to be enjoyed, ensuring that this book is as beautiful as it is informative. A pleasant read, this book will be a distinguished addition to the collection of the serious art historian and the casual art-lover alike.

Review by Art Times Staff Writer Published by Paja Publishers, 2013. Available through emailing and at select bookstores.

Surfaces, Spaces and Shrines | by Michael Wyeth Humans are narrative beings – our brains are hard-wired to make meaning of seemingly disparate and incongruous things. Paradox both delights and annoys, and the artist knows intuitively how to work with contradiction to make us see the world and ourselves in new ways. Michael Wyeth’s work presents images that attract the eye, followed closely by a sense of pleasure, discomfort and curiosity. As the title suggests, there is a meditative quality to many of the photographs. The images of the cityscape invite viewers to pause, slow down, take note, even to immerse themselves in what they might ordinarily avoid or rush past, seeing only the graffiti, the cracks, the peeling paint. The shadow side of the city enters our lives in a way that gives

us pause, brought to us by an artist who has had the eye to see what we have missed in our haste as he ventures into these seemingly unsavoury places, and brings back evidence in a way that both pleases and unsettles in unexpected ways. Through Michael’s astute framing, we see how workmen cleaning their paint rollers against a random surface unwittingly create a Pollock, a Mondrian, a Klein. A layered narrative is compiled by the shots of what has been left behind over time, waiting for our curious eye to make sense of it, seeking material, emotional and perhaps even spiritual unity. We are reminded not to take the surface for granted, to see with a beginner’s eye, and to re-evaluate ourselves and our aesthetics.

Review by Dawn Garisch – Creative method facilitator, medical doctor, author of Eloquent Body, Modjaji, 2012. Published by Imago Visual, 2014. This book will be launched in conjunction with an exhibition at the Pierre Cronje Showroom, Chelsea Village, Wynberg on November 7th, 2014 at 6pm. It will be available for purchase there and at select bookstores.







Eastern Cape Alexandria Quin Sculpture Garden This is a permanent exhibition of the sculpture of Maureen Quin. Permanent, Alexandria, T. 046 6530121,,

East London Ann Bryant Art Gallery main gallery East London Fine Art Society Annual Exhibition. This is a group exhibition by the local community of East London. See / ELFine Art Soc for further details, 27/11/2014 until 13/12/2014 Lovedale College. This is a school based in King William’s Town. This will be a group show of students and teachers past and present. 30/10/2014 until 15/11/2014. Walter Sisulu University. B-Tech Graduation Exhibition, Sinethemba Njotini, Ayabonga Mevana, Simphiwe Mbunyuza, Lubabalo Pita, Wandile Ntlanganiso, Sango Filita, Sibusiso Fatman, Dinilesizwe Komani and Sandiso Wongama will be exhibiting at the Ann Bryant Gallery, 05/11/2014 until 19/11/2014, Southernwood. T. 043 722 4044,,

Port Elizabeth ArtEC - EPSAC Community Art Centre We hold open exhibitions throughout the year, giving an opportunity for less established artists to participate. T. 041 5853641,, Galerie NOKO A Shade of Pink. Various artists that work in diverse media, 14/10/2014 until 20/11/2014. 109 -111 Russell Road, Richmond Hill, T. 041 5822090, /, Nelson Mandela Metropolitan Art Museum Our City, Selected artworks from the Art Museum’s Permanent Collection, 11/10/2014 until 08/02/2015. Nelson Mandela Metropolitan Art Museum Biennial, various artists from the Eastern Cape, 23/10/2014 until 25/01/2015, Park Drive Central, T. 041 5062000,, www.artmuseum. Underculture Contemporary Tydelikheid, Elrie Joubert & Toni Pretorious, 29/10/2014 until 28/11/2014, 98A Park Drive, Central, T. 0413730074,,

Free State Bloemfontein Oliewenhuis Art Museum Asylum of the Birds, Roger Ballen, 09/10/2014 until 16/11/2014. Fractal Young Artists Exhibition. Selected young visual artists provided with the opportunity of exhibiting in the Annex Gallery at Oliewenhuis Art Museum during October 2014.24/10/2014 until 23/11/2014, Waverley T. 051 0110525 ext 611, Gallery on Leviseur (Dis)place, Mari-Louise du Plessis, 26/09/2014 until 19/10/2014. Under Construction. Jaco Sieberhagen23/09/2014 until 12/11/2014 Kwasparia. Casper de Vries 10/10/2014 until 21/10/2014, Westdene, C. 0828352335,,

Absa Art Gallery Absa Gallery, 161 Main Street. T. 011 3505139,,

UNISA Art Gallery Exhibition of 3rd level Visual Arts and Multimedia students from the Department of Art History, Visual Arts and Musicology. 25/10/2014 until 07/11/2014, Muckleneuk, T. 012 4415683, botham2@,

Alice Art Gallery Alice Art Gallery is one of the largest privately owned galleries in Africa with a good reputation locally and internationally. Ruimsig, T. 011 9581392,,

KZ Natal

Art Afrique Gallery Matter Of Mind, Tay Dall, 20/11/2014 until 04/12/2014 Building Blocks Group Exhibition by Ronald Muchatuta and Dario Manjate, 23/10/2014 Sandton,T. 011 2927113,,a Artist Proof Studio Specializes in printmaking, Newtown, T. 011 4921278,, Bayliss Gallery Unforgettable Faces, Gene Gualdi, 30/09/2014 until 09/10/2014, Norwood, T. 011 4830891,, Catherine Timotei Catalyst: interactivity. Mondialisation, Catherine Timotei, 01/10/2014 until 30/11/2014, Saxon Hotel, Sandhurst, C. 0832378928, abstractart@, Cherie de Villiers Gallery Dealers in fine paintings and sculptures by leading South African artists, Sandton, T. 011 3255395,, http://www. CIRCA on Jellicoe A selection of works, including bronze sculpture, paintings and giclee prints by Norman Catherine. 2 Jellicoe Avenue Rosebank,, Crouse Art Gallery A variety of South African artists. From new talent to old masters all year long. Florida, T 011 6723821, Everard Read Jhb From Explicit to Implicit, Angus Taylor, October/November 2014, 6 Jellicoe Avenue Rosebank, T. 011 7884805,, Ferreira Art Gallery Kobus Louw. New arrivals of Kobus Louw masterpieces. Open 7 days a week, while-u-wait framing service, garden setting. Terrace Café, hairdresser, salon and nailbar. Collection point for Kidshaven, Bryanston, T. 011 7063738,,

Ballito Imbizo Gallery On the Wild Side, Vanessa Lomas, 06/11/2014 until 06/12/2014, Ballito, T. 032 946 1937,, www.imbizogallery. Jonathon Kassel: Science Truth is Stranger than Science Fiction 25 November to 1 December 2014

Lizamore & Associates Gallery Pilgrim, Louis Olivier, Lehlogonolo Mashaba, Nathan van Vuuren, 04/11/2014 until 22/11/2014, Parkwood, T. 011 8808802,,

Artspace Durban G1K1 group exhibition, Karen Pretorius, Steyn Pretorius, & Swany, 13/10/2014 until 01/11/ 2014, Migration, Louise Hall, 13/10/2014 until 01/11/2014 Personal Myth Collective Dream, Roz Cryer, 03/11/2014 until 22/11/2014. The Earth Laughs Anthea Martin & Catherine Stempowski, 03/11/2014 until 22/11/2014. On a small scale Marianne Meijer, 03/11/2014 until 22/11/2014. Year-end exhibition UNISA KZN, 25/11/2014 until 06/12/2014, KwaZulu-Natal, T. 031 3120793,,

OutoftheCUBE A virtual platform for contemporary visual art in South Africa., Johannesburg, C. 0832601096,,

Durban Art Gallery Song of the Soil, Sbonelo Tau Luthuli, 09/10/2014 until 23/11/2014, T. 031 311 2264,,

Res Gallery The Contortionist, Angel Haro, 20/09/2014 until 14/11/2014, Parkwood, T. 011 8804054,,


Centre Court, Hyde Park Corner Shopping Centre, Cor. William Nicor Dr. 6th Rd & Jan Smuts Ave +27 83 776 7222

Standard Bank Gallery Exact Imagination, 300 Years of Botanically inspired Art in South Africa. 08/10/2014 until 06/12/2014, T. 011 6311889,, Stevenson At the Wall, Mame-Diarra Niang, 18/09/2014 until 31/10/2014. Sepia Rain, Samson Kambalu 18/09/2014 until 31/10/2014, Braamfontein,T 011 4031055/1908,

Fifth Avenue Fine Art Fine Art Auctioneer. Regular Catalogued Auction Sales of: Antique Furniture, South African and International Paintings, Silver, Porcelain. 404 Jan Smuts Avenue, Craighall Park, T. 011 7812040,,

UJ Art Gallery Monday to Friday 09:00-18:00 & Saturdays 9:00-1:00, APK Campus, Auckland Park. T. 011 5592099,,

Gallery 2 Welcome Stranger, Karin Daymond, 04/10/2014 until 25/10/2014, Parkwood, T. 011 4470155,,

White House Gallery Sale - 2014, Various artists work will be on sale, 21/10/2014, Illovo, T. 011 268 2115,,

Goodman Gallery Oh My Word!, Willem Boshoff, 11/10/2014 until 08/11/2014, Parkwood, T. 011 7881113,, Graham’s Fine Art Gallery A selection of South African Masterpieces including Irma Stern, J.H. Pierneef, Maggie Laubser, Gerard Sekoto and Alexis Preller; as well as a selection of Contemporary art by Robert Hodgins, Norman Catherine, Mustafa Maluka and Tracy Payne, Bryanston, T. 011 4637869, info@,

Alette Wessels Kunskamer Art gallery & art consultancy, specialising in SA art as an investment, dealing in Old Masters, & selected contemporary art. T. 012 346 0728,, Association of Arts Pretoria More than 20 galleries & artist’s studios have joined the Pretoria Art Meander which launched in September. See website for details, Nieuw Muckleneuk, T. 0123463100, artspta@mweb., Centurion Art Gallery The Centurion Art Gallery is a commercial satellite of the Pretoria Art Museum, Moreletapark, T. 012 3583477,,

Gauteng Johannesburg Halifax Art In the beginning, John Moore, 04/10/2014 until 22/10/2014, Parkhurst, C. 0827846695,,

Blue Caterpillar Gallery Exhibition by Nicola Crawford (pictured “Sisters” price R3,850) Also currently on oils & lithographs by acclaimed Spanish artist Didier Lourenço. View our collection from a wide range of artists online. 033-3871356 37 Willowton Rd, Pietermaritzburg

Umhlanga Rocks

Helen Wallace Day Exhibitions: The Upper Deck Gallery, Plettenberg Bay; Bamboo Gallery, Melville, Johannesburg; Sharon Samson Gallery, Illovo, Johannesburg; Henry Taylor Gallery, Sandton, Johannesburg; The Turbine Hall Art Fair 2013, Johannesburg

“Girl Knitting in Armchair with Dachshund” Maud Sumner, 1949, R29,500 Watercolours. Overall size: 60 x 51 cm Painted area: 37 x 29 cm Our artists: Maud Sumner, Larraine Campbell, Bent Galatius, Elizabeth Harington, Lothar Conrad, Adolfo McQue, Evert Kapp, Chris Ruthven, Bobola Richard Proctor-Sims 051 773 0050

Tatham Art Gallery Fragile, Corina Lemmer, 11/10/14 until 30/11/14 Fabulous Picture Show 2014. Specifications: Artists are invited to donate up to 3 Original unframed works to Friends of Tatham Art Gallery. These are framed by the Gallery and sold on auction to raise funds for art purchases. Size Restrictions: A4 Works on paper need to be smaller in order to allow for mounts. Small 3D works are also welcome, 16/11/14 until 21/11/14, Pietermaritzburg, T. 033 3922801, brendan.bell@msunduzi.,



De Oude Wagenhuijs Philippolis


Enquiries to: +27 083 458 6040

In Toto Gallery Again and Again, An Exhibition by Nina Torr Again, 30/10/2014 until 01/1202014, Birdhaven, T. 011 447 6543,, Johannesburg Art Gallery Condition Report, Various, 29/10/2014, Joubert Park, T. 011 7253130,, johannesburg_art_gallery/

Call Eugene to advertise here 021 424 7733

Kuns Uniek Joy of Clay Colour & Art: 15 Oct-23 Nov A superb dwelling transformed into an art gallery once a year. Hosts the highest quality of South African Art: Ceramics, Paintings, Sculptures, Jewellery. Tu-Fr 10:00-18:00; Sa-So 10:00-17:00; 0123616927 331 Chappies Rd Lynnwood Pta

The Leonardo Gallery Exhibition premiere of the paintings of Barend Lindequi and ceramic artist Rika Herbst, Barend Lindequi & Rika Herbst, 28/10/2014 until 22/11/2014, Arcadia, Pretoria, T. 012 997 0520,, St. Lorient Fashion Art Gallery Rooftop VI Contemporary Totem Poles, Curated by Gordon Froud. 31/08/2014 until 30/11/2014, Pretoria, Brooklyn Circle. T. 012 4600284,,

Makiwa Gallery New Fine Art Gallery Umhlanga Rocks, Makiwa Gallery, Shop 5b, Lighthouse Mall, 14 Chartwell Drive, Umhlanga Rocks. For the discerning art collector. Fine South African Art from Makiwa Mutomba, Derric Van Rensburg, Tony De Freitas, Roelof Rossouw, Coral Spencer, Carla Bosch, Kobus Kotze, Ian Hertslet, Isabel le Roux, Johan Smith, Elbe van Rooyen, Marlien Van Heerden, Maureen Dixon, Nicole Pletts, Marlise le Roux, Sharleen Boaden, Yvonne Ankerman, Taya Maddock, Barry Jackson, Sarah Richards, Willy Reekmans, Ruth Brunskill. We will be including more fine artists to our collection to provide a large selection of paintings and sculpture. 01/11/2014 until 30/11/2014, KwaZulu-Natal, T. 031 561 1194,,

Mpumalanga Graskop Le Gallerie Luxury accommodation & art gallery. T. 013 7671093,,

Nelspruit This & That Art Framing & Decor We are a Gallery and permanently have Art on Exhibition, Odette Powell, Charl Bruwer, Mariaana Zwaan, Meike Tejema, Anthony Housell, Dawie Fourie, Debbi Swart, Wietske Smit, Pamela Armitage, Nelspruit, T. 013 7571238,, lifestyle/this-that-art-and-framing/#position


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

featured artist: Coral Spencer THE CAPE GALLERY

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

mber 5 Nove


mber 2

1 Dece


White River

Goodman Gallery Cape Town Structures of Dominion and Democracy, David Goldblatt, 01/11/2014 until 06/12/2014, Woodstock, T. 021 4627567,,

The Artists’ Press New Editions of limited edition original prints available from The Artists’ Press by leading South African artists, Waterfield Farm near White River, T. 013 7513225,, The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist., White River, T. 013 7582409, theloop@worldonline., The White River Gallery, November Portraits for the month of November, Rene Eloff, 03/10/2014 until 20/11/2014, White River, C. 0836758833,,

Mogalakwena Gallery

Northern Cape

Heather Auer Art & Sculpture Gallery

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

North West Potchefstroom North-West University Gallery The Lotus Eaters, curated by Heidi Erdmann from Erdmann Contemporary, Barbara Wildenboer, 16/10/2014 until 07/11/2014, NWU Potchefstroon Campus, T. 018 2994341, gallery@ North-West University Botanical Garden Gallery The Trouble with Memory, Cobus van Bosch, 16/10/2014 until 07/11/2014, NWU Potchefstroom Campus,

Visit this charming gallery at the Simon’s Town Waterfront, stocked with bronzes and paintings by well known South African artists.

Commune.1 False Priest, Olivié Keck, 23/09/2014 until 23/10/2014 Morning After Dark, David Lurie, 23/09/2014 until 23/10/2014, Wale Street, Cape Town, T. 021 447 5918,, Deziree Finearts A collection of Contemporary Colonial and African Oil Paintings, Fish Hoek, T. 021 7851120,, Die Kunskamer Works by leading artists, Irma Stern, Hugo Naude, Cecil Skotnes, Cynthia Villet, Norman Catherine, Hardy Botha, Bill Davis, Gail Catlin, Simone Stone, David Brown & Pierneef, Sea Point, T. 021 4349529,,

Cape Town

Kalk Bay Modern Sculpture & Ceramics Exhibition, Clementina van der Walt, Lisa Ringwood, Christo Jiles, Chantel Woodman, Ian Garrett, Giovanna Biallo, Wilma Cruise, Sandy Godwin, Catherine Brennon, Helen Vaughn & many more, 05/11/2014 until 30/11/2014, Kalk Bay, T. 021 7886571,,

ArtB Gallery, Bellville We are an innovative, community-orientated organisation, sensitive to new ideas and supportive of established and emerging artists from all cultural backgrounds., Bellville, T. 021 9171197,,

Brundyn+ We are a contemporary art gallery based in Cape Town dedicated to developing significant and cutting edge South African contemporary artists, Bo Kaap, T. 021 4245150,,

Donald Greig Gallery & Foundry Private Gallery permanently exhibiting artworks of Donald Greig - internationally renowned sculptor of wildlife bronzes. The casting technique and bronze pour can be viewed in the foundry. Open Mon – Fri 09.30 – 17.30, Sat 09.30 – 13.00. 14 West Quay Road, V&A Waterfront, Cape Town. 021 418 0003,

Eclectica Art & Antiques Purveyors of fine art, antiques & objet d’art. Wynberg, T. 021 7627983,,

NORMAN CATHERINE mixed media - 250mm x 280mm available from CARMEL ART Cape Town Email: Website: Phone: 0214213333/0832528876

Casa Labia Gallery Beyond The Beach M.O.P.6 curated by Paul Weinberg, Sean Wilson, Rodger Bosch, Sandy Worm, Robert Hamblin, Jenny Altschuler & Paul Weinberg and installation by Glen Thompson, Muizenberg, T. 021 7886068,, www.

Call Eugene to advertise here 021 424 7733

Kalk Bay Sculpture Studio Fine Art Bronze Foundry Jean Tiran, Pete Strydom, Chris Bladen & Gilbert Banda, Ongoing, Kalk Bay, T. 021 7888736, ignoblis@iafrica. com

Eclectica Modern Pop Up Group Show, an eclectic mix of 6 interesting artists, Sarah Danes-Jarrett, Hardy Botha, Peter Pharaoh, Jana Prinsloo, Peter Hall and Simon Addy, 03/11/2014 until 28/11/2014, 9A Cavendish Street, Claremont, T. 021 6717315, info@, Erdmann Contemporary Co-Existance, Mexican photographer Jan Smith, Melbourne-based painter Bronwen Vaughan-Evans & South African lens-based artist Nomusa Makhubu. 30/09/2014 until 31/10/2014, Gardens, T. 021 422 2762,, Everard Read, Cape Town A dynamic gallery, designed to maximise the exposure and dissemination of fine contemporary painting and sculpture to a broad audience. V & A Waterfront, T. 021 4184527,, www.everard-read-capetown. 34 Fine Art Look Mickey! Group Exhibition, The exhibition will feature works by several well known local and international artists, 11/11/2014 until 20/12/2014, Woodstock, T. 021 461 1863,,

Quincy’s Antiques Art and Collectables Art, Antiques, Curios & Gifts, Rondebosch, T. 021 6851986, Red! The Gallery Contemporary Art Auction, 18:30, Andrew Cooper, Joe Joubert, David Kuijers, Glen Tong, Michael Waters, Michael Tancrel, Derric van Rensburg, Junior Fungai, Wakaba Mutheki, to name a few, 19/11/2014, Steenberg, Tokai, T. 021 7010886, Rose Korber Art Rose Korber relocated to Sea Point, T. 021 4330958,, Ryno Swart Art Gallery Works by Ryno Swart, Simon’s Town, T. 021 7863975,, Rust-en-Vrede Gallery Little inconsistencies, Angela Banks, 14/10/2014 until 06/11/2014 Scratching the Surface, Dee Donaldson, 14/10/2014 until 06/11/2014 Reflective Spaces, Paul Birchall, 14/10/2014 until 06/11/2014 Anglo Oriental: Connecting Past to Present, Christo Giles, Graham Bolland, David Schlapobersky, David Walters, Paul de Jongh, Yogi de Beer, Andrew Walford, Lindsay Scott, Steve Shapiro, Anton van der Merwe, Digby Hoets, John Ellis, Ian Glenny, Garth Meyer, Nico Liebenberg and Chris Patton. Retrospectives by Bryan Haden, Tim Morris, Hyme Rabinowitz, Esias Bosch, 11/11/2014 until 11/12/2014 Hey, Mamacita!, Michele D’Argent, 11/11/2014 until 11/12/2014 Anglo-Oriental Ceramics, Connecting Past to Present, various artists, 11/11/2014 until 11/12/2014, Durbanville, T. 021 9764691, rustenvrede@telkomsa. net, Salon91 Contemporary Art Collection Sunday’s Child, a solo exhibition, Kirsten Beets, 05/11/2014 until 01/12/2014, Gardens, Cape Town, T. 021 4246930,, Sanlam Art Gallery Permanent collection of South African art & a large exhibition space. Bellville, T. 021 9473359,,

Eatwell Art Gallery Exclusively exhibits the artwork of the Eatwell family. The artists, Lynne-Marie Eatwell, Eric Oswald Eatwell & Mags Eatwell, Noordhoek, T. 021 7892767,, EBONY Cape Town Zero Crossing, My exploration of the space between optical illusion and reality, Lars Fischedick, 04/09/2014 until 03/11/2014. Printed, William Kentridge, Deborah Bell, Diane Victor, Senzo Shabangu & many more. 06/11/2014 until 02/12/2014, Cape Town, CBD, T. 021 4249985,,

Carmel Art

Iziko Michaelis Collection Rembrandt in South Africa: Pioneer Printmaker of Humanity and Modernity, 03/10/2014 until 28/02/2014, josephinemhiggins@

Johans Borman Fine Art Black & White, Under Construction by Jaco Sieberhagen, 08/11/2014 until 06/12/2014, Newlands, T. 021 6836863,,

Allderman POP UP Gallery Popup Exhibition. The Art of Objects… an extension, Newlands, gallery@new.,

Bronze Age Bronze Foundry, Woodstock, T. 021 4473914,, www.bronzeage.

Hout Bay Gallery We welcome you to a burst of kaleidoscopic colour of artworks by talented South African Artists and Sculptors., Artworks by Sarah Danes Jarrett, Brett Shuman, John Catlin, David Staude, Natasja De Wet, Sam Allerton and many more. Open every day, all welcome., Hout bay, T. 021 790 3618,, www.houtbaygallery.

Iziko SA National Gallery Symbols of South African Cultures, 24/09/2014 until March 2015, Cape Town Central, T. 021 4674660,,

Western Cape

Barnard Gallery Glimpse, Alastair Whitton, 21/10/2014 until 04/12/20124, Newlands, T. 021 6711553,,

Quayside Centre, cnr Wharf and St George’s St., Simon’s Town, Western Cape Tel 021 7861309 082 779 2695/082 828 9203

Creative Intersections 6 Nov – 5 Dec Ceramic exhibition featuring ceramics by Margy Malan and Hennie Meyer during Ceramic Month in Cape Town. Mogalakwena Gallery, 3 Church Str (betw Adderley Str & St George’s Mall) Cape Town (021) 4247488 Gallery times: Monday – Friday 09:00 – 16:00 Current exhibition at Mogalakwena Gallery The 6th Edition of the Cape Town Month of Photography Film & New Media Festival Mid September to 31 October 2014

SMAC Art Gallery, CT Délio Jasse, 20/11/2014 until 17/01/2015 Johann Louw Drawings, 20/11/2014 until 17/01/2015, Cape Town Central, T. 021 4225100, info@smacgallery. com, Lindy van Niekerk Art Gallery Dealers in Contemporary South African Fine Art (& the Old Masters) and picture framing. 114 Kendal Rd, Eversdal, Durbanville, 7550 PO Box 5044, Tygervalley, 7536 Tel. +27 21 975 1744

Lutge Gallery Cape & architectural antiques, art, ceramics & tables designed by Allan Lutge from reclaimed wood, Cape Town Central, T. 021 4248448 or 021 788 8931,,

South African Jewish Museum Interactive multi-media displays and engaging accounts of South African Jewish History. Cape Town Central, T. 021 4651546,, South African Print Gallery Work by leading South African artists. Woodstock, T. 021 4626851,, South African Society of Artists Art by leading South African artists. Cape Town Central, T. 021 6718941,, StateoftheART Gallery Figuratively Speaking | A selection of new work on show. Floris van Zyl, Janna Prinsloo, Claude Chandler, Chris Denovan, Lisette Forsyth, Jeanne Hendriks, Maureen Visage & Restone Maambo. 02/10/2014 until 05/11/2014


Asking For It? Maria Patrizi, 06/11/2014 until 15/11/2014, Cape Town CBD, T. 021 8014710,,

Contact Eugene: Very affordable prices, your listing will stand out & circulate.

Stevenson Cape Town Kings County, Njideka Akunyili Crosby, Meleko Mokgosi, Wangechi Mutu, Paul Mpagi Sepuya, 09/10/2014 until 22/11 2014, Woodstock, T. 021 4621500,,

Call 021 424 7733 or email

The AVA Gallery - Association for Visual Arts Gallery Fabricate, A retrospective of handspring puppet company, 30/10/2014 until 30/01/2015, 35 Church Street, Cape Town, 8001, T. 021 4247436,,


Elrie Joubert & Toni Pretorius

Tydelikheid 29 October 2014 - 28 November 2014

1 1 N ove m b e r - 1 1 D e c e m b e r 2 0 1 4

G r a h a m B o l l a n d , Yo g i d e B e e r, P a u l d e Jongh, John Ellis, Christo Giles, Ian G l e n n y, D i g b y H o e t s , N i c o L i e b e n b e r g , G a r t h M e y e r, C h r i s P a t t o n , L i n d s a y S c o t t , Steve Shapiro, David Schlapobersky & F e l i c i t y P o t t e r, A n t o n v a n d e r M e r w e , A n d r e w Wa l f o r d , D a v i d Wa l t e r s . Retrospective exhibitions: Esias Bosch, B r y a n H a d e n , Ti m M o r r i s , H y m e R a b i n o w i t z . 98A Park Drive, Central, Port Elizabeth

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

Tel: +27 (0)21 872 5030 Fax: +27 (0)21 872 7133



ART TIMES GALLERY GUIDE The Cape Gallery Entyatyambeni, botanical collages by the Keiskamma Art Project, Keiskamma Art Project, 02/10/2014 until 18/10/2014. Zulu-Zen from KZN – a solo exhibition of ceramic work, Andrew Walford, 02/11/14 until 22/11/14, Cape Town, T. 021 4235309,,

EBONY Franschoek Group Show, Sibusu Duma, Jacques Vrey, Lional Abrams, Douglas Portway, Hugo Naude, Cecil Skotnes & Kevin Collins, Sculptures by Dylan Lewis, Keith Calder, A-J Bull & Jean Theron Louw. Ceramics by Lisa Ringwood and Caroline van der Merwe. Franschoek, T. 021 8764477,, ww

The Framing Place Conservation framing, framing of art, Block mounting and Block frames., Observatory, T. 021 4473988,

Bot River De Geheime Kelder Prentjies van Botrivier, This exhibition hosts local talent and will run concurrently with the new show planned for October 2014 Tombstones of Poetry: A look at the validity of poetry in today’s day and age. Tombstones will open on the 10th October 2014, 10/10/2014 until 14/11/2014, Botrivier Hotel, Main Road, C. 0823484539, mtini.michael@ /,


Riebeek Kasteel

Robertson The Robertson Art Gallery We specialise in original art of more than 60 top South African artists. Robertson, T. 023 626 5364,,

The Studio Kalk Bay Journeys, Mel Miller, 30/11/2014 until 09/11/2014, Kalk Bay,,

What if the World Gallery Manual, Michele Mathison, 08/10/2014 until 15/11/2014. New work by Lakin Ogunbanwo, 08/10/2014 until 15/11/2014, Woodstock Capetown, T. 021 4472376,, www.wh

Prince Albert Gallery Established in 2003, the gallery always has an eclectic mix of art on display, Prince Albert, T. 023 5411057, karoogallery@intekom.,

The Gallery - Riebeek Kasteel Paradigm, Awie de Jager, 08/11/2014 until 30/11/2014, Riebeek Kasteel, C. 083 653 3697,, www.

The Lovell Gallery Lovell Tranyr Art Trophy Group Exhibition, Anelia Loubser, Jenny Nijenhuis, Danelle Janse van Rensburg, Isabelle Grobler, Sharleen Oliver, Rae Goosen, 01/11/2014 until 29/11/2014, Woodstock, T. 021 4475918,, www.

UCT Irma Stern Museum Without Pedestals, Nicolene C Swanepoel, 01/11/2014 until 22/11/2014, Rosebank, T. 021 6855686, mary.vanblommestein@,

Prince Albert

Somerset West La Motte Museum Offers a cultural-historical experience featuring the estate’s history and architecture. Current exhibitions: Heritage collection of South African old master, JH Pierneef. Contemporary exhibition of The Helgaard Steyn Awards. Franschhoek Art in Clay exhibition, The Setting – contemporary ceramic tableware. T 021 876 8850 E,

Dante’ Art & Decor, New Nicole Pletts Always in demand, come and check out her new pieces before they go!, Somerset West, T. 021 8518142, info@, php

D-Street Gallery Art - (de)code - (re)phrase, Anton Smit, Dot Vermeulen, Jaco van Schalkwyk, Karlien de Villiers, Elizabeth Gunter, Clare Menck, Strijdom van der Merwe, Shany van den Berg, Judy Woodborne, Marie Stander, Marinda Combrinck, Peter van Straten, Elizabeth MillerVermeulen (Curator), 15/11/2014 until 10/01/2015, Stellenbsoch, T. 021 8832337, info@dstreetgalelry. com,


Stellenbosch Oude Libertas Gallery The gallery is open to the public free of charge. New exhibitions every six weeks, Stellenbosch, c/o Adam Tas and Libertas Roads, T. 021 8098412,,

The Shop at Grande Provence Arts in Clay and Fine Jewelry by Ilse Malan, 01/11/2014 until 30/11/2014, Grande Provence Estate, T. 021 8768630, gallery@,

Rupert Museum Showcasing the unique private art collection of Anton and Huberte Rupert, Stellenbosch, T. 021 888 3344,,


Sasol Art Museum Permanent collection of paintings, graphic works and sculptures, as well as anthropological collection. Regular temporary art exhibitions of national & international artists, Stellenbosch, T. 021 808 3690.

Wonki Ware Di Marshall pottery. South African Dinnerware and Table Accessories. George, T. 044 8841883,,

US Art Gallery The exhibitions, entitled Dear Mr Mandela, Dear Mrs Parks: Children’s Letters, Global Lessons and Freedom XX: 20 Pieces of Democracy, will be on at the Museum, 28/05/2014 until 31/12/2014, Stellenbosch,,

Liebrecht Gallery Work in four decades: The Clifford M’Pai retrospective, Clifford M’Pai, 23/10/2014, Somerset West, T. 021 8528030, vineyardartists@,

The Gallery at Grande Provence Arts in Clay Festival, 25/10/2014 until 30/11/2014, Franschhoek, T. 021 8768630,,

Crouse Art Gallery Various South African Artist including Old Masters, Adriaan Boshoff, Andre de Beer, Anton Benzon, Christiaan Nice, Diane Erasmus, Gerrit Roon, Makiwa, Maria & many more. Daily 09h00 to 18h00, George, T. 044 8870361, suzette.crouse@,

Stellenbosch Art Gallery An extensive selection of paintings, sculptures, handmade glass & ceramics by Western Cape artists. Stellenbosch, T. 021 8283489,,

Anne-Ghrett - Breytenbach Galery To celebrate Breyten Breytenbach’s 75th birthday, 20 artists were invited to interpret poems by the poet/artist and show their works. The exhibition runs until the 10th of Nov. contact Anne-Ghrett @ or on 0-834150002/ 021 8642988 Anne-Ghrett - Breytenbach Galery 0834150002 / 021-8642988

Slee Gallery Contemporary art gallery, Stellenbosch, T. 021 887 3385,, gallery


SMAC Art Gallery Anton Karstel, 23/10/2014 until 07/12/2014, Stellenbosch. Simon Stone, 11/12/2014 until 25/01/2015, T. 021 887 3607,,,

Beatrix Bosch Studio Beatrix Bosch artworks now on permanent display at the Wilderness Hotel, Garden Route, Wilderness, T. 044 8770585,,


Miranda Combrink Studio & Gallery Image: ‘Basin I, Oude Huis, Calitzdorp’ Oil on canvas, size: 55 x 67cm Visit my Studio & Gallery to view recent paintings and drawings. 33 Andreis Pretorius Street, Calitzdorp Cell: 079 968 1588 Facebook: Marinda Combrinck Art

De Rust Portal Gallery Selected contemporary artists, including Carl Becker, JP Meyer, Estelle Marais, Diane McLean and Hermann Niebuhr. Gallery hours flexible, De Rust, T. 082 2976977,,

Franschhoek Atelier at 1 unie Private ongoing viewing of Contemporary Art and Sculpture by Johannes du Plessis by appointment, Franschhoek, johannes.dup@ Art in the Yard Ready, Set, Go, A solo exhibition by Alexandra Spyratos, 18/11/2014 until 09/12/2014, Franschoek, T. 021 8764280, lizelle@artintheyard.,

Abalone Gallery, Extract, Annex Gallery Jeannette Unite, 21/11/2014 until 31/12/2014, Hermanus, T. 028 31 32935,, Main Gallery Alta Botha, John Clarke, Elzaby Laubscher, Judith Mason, André Naudé, Louis van Heerden, Kristin Yang & sculptures by Herman van Nazareth, Anton Smit, Susanna Swart. Walker Bay Art Gallery View the wide selection of paintings, sculptures & ceramics by established as well as up-and-coming SA artists. Hermanus, T. 028 3122928, Willie Botha Sculpture Gallery Permanent exhibition of work by sculptor Willie Botha, paintings by Pieter Vermaak, Johan Calitz and Shelley Adams, Hermanus, T. 028 3132304,, Rossouw Modern Art Gallery Summer Show - A group show of current up and coming artists, Bastiaan van Stenis, Krisjan Rossouw, Hugo Maritz, Jeanne Hendriks, Harem, A.S. de Lange, Obert Jongwe, Albert Coertse, Jenny Jackson, Godfrey Mawethu Ntakana, Glenn Cox, 01/10/2014 until 01/02/2015, Hermanus, T. 028 313 2222,,

Knysna Knysna Fine Art Recent Paintings by Claude Jammet and Recent Sculpture by Carl Roberts, 01/11/2014 until 30/11/2014, Thesen House, T. 044 3825107, gallery@,

Mossel Bay Art@39Long Artists on show: Mien Greyling, Susqya Williams, Sheena Ridley, Sonnette Olls, Fiona Rowett, Helen Pfeil, Cheryl Traub Adler and more. Ceramics by Clementina, Hennie Meyer & more. On going exhibition, Great Brakriver, C. 0825763338, artat39long@yahoo. com,

Oudtshoorn ArtKaroo Animals, Ina Marx, November, 2014. Thijs Nel Exhibition, Thijs Nel, January, 2015, Oudtshoorn, T. 044 2791093,,

Advertise your gallery show here GALLERY DISPLAY BLOCK Contact Eugene: very affordable prices, your listing will stand out & circulate. Call 021 424 7733 or email

The Catacombs 1967

Photo by Billy Monk

Paarl Hout Street Gallery Specialising in paintings and fine art by more than thirty SA artists. Paarl, T. 021 8725030,,

Plettenberg Bay The White House Venue & Theatre Exhibition venue, Plettenberg Bay, T. 044 5332010, caitlin@whg.,

78 Shortmarket Street, cnr Loop Street, Cape Town 8001 View by appointment only (Contact: Gavin Furlonger 083 594 8959)

Art & Antiques

Goodman, G


Naude, PH

Klar, O

11A Chelsea Village,Wynberg Tel: 021 - 762 7983




L to R – Paul Senyol and Janine Loynes; Cle Latouf and Jay Badenhorst; Neil Hughes



L to R – Artist, Dee Donaldson with a friend; Paul Birchall speaking with two admirers of his work; Gisela Hirons with some of her jewellery



Top: L to R – Janez Vermeiren and Lunga Shabalala with Grace O’Malley; Mike Feldman, Franz Jesche and Anne Oliveira support their old friend and colleague, Roel Roelofsen; Suzie Copperthwaite and Gina Lodewijks



L to R – Christian Sulger-Buel explaining some art to a visitor; Tamzin Lovell Miller telling a visitor about the new gallery; British art-lovers enjoying the exhibition



L to R – Willie, Lynwill and Evelyn Bester; Mike Botha and Patrice Boussekey; Rose and Morris Korber


Art Trophy Finalists Group Exhibition 6 – 29 November 2014 An opportunity to see some exciting artworks of the six finalists of 2014.

Rae Goosen Isabelle Grobler Anelia Loubser R E A D Y, S E T , G O | A Solo Exhibition by Alexandra Spyratos 18th Nov - 9th Dec 2014

Jenny Nijenhuis Sharleen Olivier Danelle Janse van Rensburg

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

Please join us for the opening on 6 November at 6.30 pm

lov e l l ga l l e ry The Loft, 139 Albert Road, Woodstock

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

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

Custom colour wood frames

Conservation Framing

Framing of art, objects, mirrors & prints

Stretcher frames

home about current exhibitions selfies archive contact

WITHOUT PEDESTALS Nicolene C. Swanepoel UCT Irma Stern Museum Opening 1 November, 11.00 Speaker: Wilma Cruise Closes 22 November Artist’s walkabouts 083 457 8695


5th Avenue Auctioneers

Fine Art Auctioneer. Regular Catalogued Auction Sales of : Antique Furniture, South African and International Paintings, Silver, Porcelain, 404 Jan Smuts Ave. Craighall Park. Johannesburg Tel.(0)11 781 2040


Russell Kaplan auctioneers Johannesburg Tel.(0) 11 880-3125 Russell Kaplan Auctioneers Corner of Garden and Allan Roads off Jan Smuts Avenue, Bordeaux Tel:(0)11 789 7422

Cape Town Tel. (0) 21 794-6461

Tel +27(0) 11 447 2855


Ashbeys Galleries

Art Source South Africa was launched in 2001 as a visual arts management consultancy. We offer selected professional products and services for the contemporary visual art & creative cultural development sector. Operating on the ‘business side’ of the visual art sector we provide clients with strategic management consulting, project development and management, stakeholder liaison, curation, publishing, agency services, media & communications strategy and implementation, artists career development and coaching. Our clients range from individual artists, galleries and projects, to educational institutions, foundations and non-profit organisations.


Provenance Auctioneers

The Italian Art Shop 43-51 Church Street, Cape Town Telephone: (0)21 423 8060

Provenance Auctioneers 6–8 Vrede Street, Gardens Cape Town Tel (0)21 4618009

Anastasia Alexander Art Restoration Studio Sea Point, Cape Town Tel: (0)21 4391620

Importers of the world’s finest paint and artists’ materials. The Italian Artshop, based in Cape Town is the sole South African importer of the following top quality and excellent value for money materials for professional and amateur artists: +27 (0)21 6851877




Ian Hunter


Bonhams : South African Pictures (UK) General Enquiries : Fax: +44 20 7468 5839

Rudd’s Auctioneers 87 Bree Street Cape Town Tel: (0)21 426 0384 /6/7

Fine Art Consultant and Advisor

Bellingan Scott Ernest Bellingan Scott +27 (0)73 691 7134 P.J. Scott +27 (0)82 775 Melia Road, Blairgowrie,Johannesburg www.

Ian Hunter : former Head of the Art Department and Senior Specialist with Stephan Welz & Co. in Association with Sotheby’s, presents his confidential services as a bespoke art advisor for both corporate art collections and individuals. Services include: assistance in managing art collections | buying and selling works on behalf of the client, insurance valuations for collections and Probate valuations for late estates. Tel +27 842576495


Christies Juliet Lomberg Independent Consultant Tel: +27 (21) 761 2676

Strauss & Co. Fine Art Auctioneers Johannesburg Tel: 011 728 8246 Cape Town Tel: 021 683 6560

Thomas H. Rebok Fine Art Restoration cc

+27 84 2903315

Framed Master Gilders & Framers 4 Frere St, Woodstock Tel. 021 447 3635

Nushin Elahi’s London Letter


The National Gallery presents a superb range of Rembrandt’s work for the exhibition Rembrandt: The Late Works (until 18 Jan 2015) which focuses on the artist’s last two decades. They include loans such as the enormous canvas, “The Conspiracy of the Batavians” from Sweden, measuring two by three meters and conceived as an even larger piece for the Amsterdam Town Hall. It was then almost immediately rejected as too shocking for the good city fathers.The work depicts the legend from which the Dutch trace their history, but the artist gives it life as a one-eyed Barbarian king demanding allegiance from those around him. Intended to hang high up in the great hall, Rembrandt experiments with light as this moment pierces through an ancient darkness. Other significant loans include the Louvre’s ‘Bathsheba’, her face reflecting a million emotions as she reads David’s proposal, the Rijksmuseum’s ‘The Jewish Bride’ with its tender sensuality between the couple, ‘The Syndics” which gives such vitality to what could otherwise have been a stilted group portrait and a host of lesser known portraits. I have to admit that my first thought on walking around was simply, there are too many grey-haired old faces here. Sacrilege, I know, but there is a very ‘old’ feel to this show. True, it is dispelled as you look longer and deeper, but it doesn’t have that immediate wow factor that some shows do. One of my favourite paintings is the Rembrandt self-portrait that hangs in Kenwood, his painter’s cap and palette smudged to allow you to focus on those haunting eyes. In the first room here, another five self-portraits greet you, and the last one, at only 63, is such a frail and broken man he could be 93. It is an unflinching look at ageing, both in the mirror of his own face and those of his other elderly sitters, and not always a pleasant one. The ruddy cheeks of an elderly man suggest a drinker; each member of the powerful Syndicate becomes an individual that engages with the viewer very directly as they pause mid-sentence to catch our gaze, while the apostle Bartholomew ponders his own fate in two portraits as he fondles the knife that will bring about his end. The etchings and drawings have an immediacy that is perhaps easier to connect with, whether the fluid lines of a sleeping woman or the lively faces from a row of portraits. The artist experimented with effects in his etchings, and a variety of these are shown here. The images that will remain with one are those lively, questioning faces of the Syndics, the lyricism of the bridal couple and Bathsheba’s anguished beauty, but those that will haunt one are ageing, red-rimmed watery eyes, sunken cheeks and blotchy faces. Rembrandt may have lost his physical strength, but there was rigorous honesty in his brush. SA ART TIMES | NOVEMBER 2014

Anselm Kiefer is older in years than either Rembrandt or Turner when they died, but the centuries that divide these artists mean that no-one is talking of ‘late works’ for this 69-year-old German whose powerful vigour is on display in every recent work at the Royal Academy’s retrospective (until 14 Dec). Kiefer is a master of the monumental, the epic and the grand and his gigantic creations are quite simply awe-inspiring. The early graphic works show a man of ideas rather than a good draughtsman and undoubtedly it was his exploration of the powder keg of a collective German amnesia about the war that thrust Kiefer into the limelight. To a nation that chose not to look at its recent past, Kiefer’s images of himself in his father’s uniform doing a ‘Sieg Heil’ salute were provocative in the extreme. That ability to needle his viewers has never left him, resulting in many unsettling images. Kiefer dismisses easy art, and those with the referential insight to understand all the notes he writes on his canvasses may gain a broader understanding of his work. One doesn’t actually need to know anything about the context though to appreciate the sheer scale and monumentality of each piece. Huge desolate snow-covered landscapes, giant abandoned temples or structures, cavernous interiors, bleak forests or stars twinkling in a leaden firmament – all of these draw on the collective human memory where Kiefer finds his subjects, and they all evoke a very real emotive response that lies beyond the cerebral. I missed the Tempelhof images that were so powerful in Kiefer’s 2012 White Cube London show, which again harked back to his country’s Nazi past, but the alchemy from that time is represented by the winged leaden books that greet the visitor. A colour that is neither dark nor light, and imbued with enormous mystical significance, Kiefer not only uses it to create these great tomes, but in a later room drops diamonds in the metal to create a hazy firmament. Also recent is a series that references the Morgenthau plan, which would have seen Germany an agricultural land. Giant ears of corn bristle off the canvas, and for a change, they glow with colour. Books are highlighted as significant throughout his practice, but the erotica assembled in the enormous books on display don’t add to an understanding of his art – his drawing skills are frankly not his strong point. There is nothing else on a human scale in this colossal show, but instead of revealing something more about the man himself, the sketches are slight and disappointing. The artist uses himself to give scale to images from early Nazi salutes beside a lake to fields of giant sunflowers or glittering skies, but the individual clearly represents mankind, rather than a man. At times one longs for something you can relate to on a smaller scale, but Kiefer does monumental more magnificently than others. This is a retrospective that will send you back to books to find out what myths lie behind the images. Kiefer is an artist who leaves an indelible impression, as he did on me in the Eighties, and he will undoubtedly gain a new British following with this show. OPPOSITE PAGE: top: “Bathsheba” (right) and “Lucretia” both ponder their

THIS PAGE: left: Anselm Kiefer, “Interior (Innenraum)”,

fate in the National Gallery’s exhibition of ‘Rembrandt: The Late Works’. Photo: Nushin Elahi

1981, Collection Stedelijk Museum, Amsterdam

left: Rembrandt, “Self Portrait with Two Circles”, about 1665-9, Kenwood House, The Iveagh Bequest, English Heritage, London

right: Rembrandt, “The Sampling Officials of the Amsterdam Drapers’ Guild”, known as ‘The Syndics’, about 1662, Rijksmuseum, on loan from the City of Amsterdam Rembrandt, “Portrait of a Couple as Isaac and Rebecca”, known as ‘The Jewish Bride’, about 1665, Rijksmuseum, on loan from the City of Amsterdam (A. van der Hoop Bequest) Rembrandt, “The Conspiracy of the Batavians under Claudius Civilis”, about 1661-2, The Royal Academy of Fine Arts, Sweden

Anselm Kiefer, “Winter Landscape (Winterlandschaft)”, 1970, Metropolitan Museum of Art, Denise and Andrew Saul Fund, 1995 Anselm Kiefer, “Heroic Symbol V (Heroisches Sinnbild V)”, 1970, Collection Würth Anselm Kiefer, “Language of the Birds”, 2013 greets visitors to the Royal Academy Photo: Nushin Elahi

top: Anselm Kiefer, “Morgenthau Plan”, 2013, Private Collection



AMSTERDAM Marlene Dumas: The Image as Burden | The Stedelijk Museum 6 September - 4 January With almost two hundred drawings and paintings Marlene Dumas – The Image as Burden is the first major solo exhibition of Dumas in the Netherlands in 20 years. A unique survey of the remarkable oeuvre of Marlene Dumas. This retrospective exhibition brings together over one hundred of her most important works, from the late 1970s to the present day.

Vertigo of Reality | Akademie der Künste | 17 September - 14 December To be seen by anyone interested in ‘how aesthetic production and political, social space relate to each other’. The exhibition focuses on game art as a medium of expression. Artists include: Marina Abramović, Alexander Bruce, Peter Campus, Thomas Demand, Olafur Eliasson, Christian Falsnaes, Harun Farocki, Hamish Fulton, Jochen Gerz and more.

Modern Times: Photography in the 20th Century | Rijksmuseum 1 November to 11 January The exhibits in Modern Times demonstrate the technological and aesthetic developments in 20th-century photography, from the breakthrough of photography as an art form to its uses as a journalistic medium. 400 photographs will be on display, including works by Man Ray, László Moholy-Nagy and Helen Levitt.



Taylor Wessing Photographic Portrait Prize | National Portrait Gallery 13 November – 22 February The prestigious photographic portrait award returns with a showcase of the most talented and exciting photographers working across the globe. From over 4,000 submissions by 1,793 photographers this annual exhibition showcases 60 portraits by students, amateurs and established professionals presenting an ambitious approach to photographic portraiture today.

Robert Mapplethorpe: Sell the Public Flowers | Thomas Schulte Gallery 4 October - 15 November 40 silver gelatin prints from Mapplethorpe’s most prosperous decade of work between 1978 and 1988, the exhibition focuses on the distinct style and subject of the black and white photographs, which, at the time of conception, were not just polarizing, but caused hype. A number of his highly aestheticized nudes and flowers made him one of the most important photographer of his time.

Allen Jones | Royal Academy of Arts | 13 November – 25 January This appraisal spans the entire career of British Pop artist Allen Jones, from the 1960s to the present day. The exhibition traces connections and themes over the decades. What emerges is a visual language fusing painterly tradition with the iconography of city life, theatre, and advertising – a language inspired by American consumer culture and the crisp graphics of Warhol and Lichtenstein.





The Paris of Toulouse-Lautrec: Prints and Posters | MoMA 26 July – 22 March A preeminent artist of Paris, Henri de Toulouse-Lautrec (1864–1901) brought the language of the late-19th-century avant-garde to a broad public through his famous prints and illustrations. This exhibition is the first MoMA exhibition in 30 years dedicated solely to Lautrec, and features over 100 examples of the bestknown works created during the apex of his career.

Marcel Duchamp: Painting | Pompidou Centre | 24 September – 5 January An exceptional exhibition of a hundred or so works by iconoclastic “anartist”, Marcel Duchamp, from 1910 to 1923. Taking an unprecedented and deliberately paradoxical approach, the exhibition displays the paintings of the man who, according to general consensus, “killed painting”.

Robert Gober: The Heart Is Not a Metaphor | MoMA 4 October – 18 January Gober (American, b. 1954) rose to prominence in the mid-1980s and was quickly acknowledged as one of the most significant artists of his generation. The exhibition includes around 130 works across several mediums, including individual sculptures and immersive sculptural environments and a distinctive body of drawings, prints, and photographs.

Jeff Koons | Pompidou Centre | 26 November - 27 April The first major retrospective in Europe dedicated to the work of Jeff Koons. Exploring new approaches to the readymade and appropriation, playing with the boundaries between advanced art and mass culture, transforming the relationship of artists to the cult of celebrity and the rules of the market for thirty five years, Jeff Koons is one of the most famous and controversial contemporary artists.

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On the couch with ROSE KORBER SA’s Grande Dame of Art Dealership

Rose Korber is one of South Africa’s leading, independent art dealers, consultants and curators, specialising in works by leading and emerging, contemporary South African artists. Over the past three decades, she has become widely known for her significant role in introducing South African art to a local as well as an international art market. Her background experience as a freelance art writer, critic and UCT Summer School lecturer, proved to be an excellent preparation for her later role. Having covered many international art events over the years – including numerous Documentas and Venice Biennales – she decided on a complete change of direction, when, in 1990, she launched the Rose Korber Art Consultancy (subsequently re-named Rose Korber Art). In 1992, Rose initiated the Art Salon in Camps Bay – the first of 21 further annual Salons – which rapidly became a major annual art event in Cape Town. The Salons brought together a large and diverse showcase of innovative and contemporary South African art in various media and styles that gave a comprehensive overview of the current state of South African art: paintings, mixed media works, original limited-edition prints, photography, sculpture, ceramics and, later, contemporary Shangaan beadwork. One of Rose’s great strengths is her uncanny ability to spot talent and to launch both established and emerging artists to newer heights. She and her husband and business partner, Morris, were able to attract some of the finest artists to their gallery and their Salons, over the years. These included William Kentridge, Robert Hodgins, Willie Bester, Sam Nhlengethwa, Claudette Schreuders, Norman Catherine, Deborah Bell, Simon Stone, Stephen Inggs. But new, emerging artists were always introduced. Rose has recently moved her Camps Bay enterprise and relocated to Sea Point. The SA Art Times was recently allowed to explore her private collection and enquire about her amazing career in support of South African art.

AT: How and why did you start dealing in South African art? RK: I hail from Carnarvon, a very small town in real Karoo country, north of Beaufort West. My parents ‘emigrated’ to Cape Town when I was eight, to provide me with a ‘good education’, but, more and more, I was drawn to art. By the time I began to study fine art and art history through UNISA, I already had three young children, which wasn’t easy. But I took my time – five years in all – to get my BA (Fine Arts), followed shortly afterwards by an Honours degree in Art History. My first job was writing a regular art column for the Argus, but I was frequently reminded by the then arts editor that their statistics indicated that only a miniscule percentage of their readers was at all interested in art! Next, I was commissioned by the SA in-flight magazine, The Flying Springbok (later renamed Sawabona) to do a series of articles on contemporary Cape Town and Johannesburg artists. This necessitated several journeys to Johannesburg, and gave me the opportunity -of meeting many established and emerging artists (still relatively unknown in Cape Town) and viewing their works up close. My entry into the business side of art happened quite by chance a few years later. Invited by an acquaintance to lunch on their Franschhoek farm, I was taken aback when our hostess asked me casually if I would undertake to assist her to find new, quality art for their Cape Town home, which was undergoing a huge facelift. I nervously agreed, as I had had no experience in this field whatsoever. The result was that I spent the following three months, taking the client around to galleries and studios, and enjoying every minute. During this process, my confidence grew tremendously. I had managed, in that time, to put together a fine collection of works for her, and, at the same time, had finally found the direction my career was to take.

AT: Can you name some person who inspired you or mentored you along the way? RK: Two people who inspired me enormously – and, in fact, turned my life around - were Kevin Atkinson, an abstract painter and inspirational art theorist / philosopher who taught at Cape Town’s Michaelis School of Art, and Prof. Neville Dubow, head of Michaelis for many years – a brilliant lecturer, art historian, art theorist and photographer, who travelled extensively in the course of his lectures, bringing back with him news and images of the most contemporary art events and movements abroad. In the early days, I was also influenced by outstanding gallerists in Cape Town, such as Joe Wolpe the doyen of gallerists), Louis Schachat (the expert on South Africa’s ‘old masters’) and Esther Rousso, who introduced Cape Town to many exhibitions by Johannesburg artists such as William Kentridge, Robert Hodgins, Deborah Bell and Penny Siopis. I became personal friends of these gallerists, and they were always happy to share their knowledge with me. AT: Is there any advice that has stayed with you? RK: I am a firm believer in clients buying artworks that they love rather than for investment only. Of course, the more knowledgeable you are about contemporary art and the market, the more sophisticated your taste will be. In earlier days, buying for investment only was never a major issue, while today – with the increasing commodification of art, worldwide, particularly contemporary art, buying primarily for investment has become the rage. AT: I think that core relationships must essentially be the core of your business and knowing how to please specific clients. RK: Yes, I realised at a certain point that it wasn’t a regular gallery that I wanted to establish. It was a place where art-lovers could come together to view selected, quality South African art in an informal setting on a personal, ‘one-to-one’ basis, and share SA ART TIMES | NOVEMBER 2014

Rose Korber conducts business in her beautiful home, surrounded by her beloved art collection.

my passion for art. The Camps Bay house – with its stunning views of sea and mountain and its extraordinary light, was perfect for that purpose, and drew a great many clients over the years, both local and international. The greatest compliment they could pay me was, on departing: ‘We have learnt so much from our visit’. AT: Your career has put you in contact with many interesting people. Do you have any interesting stories about dealing with them? RK: William Kentridge was one of the first artists I approached when starting out. I called to advise that I would no longer be having long interviews with him, as I was now starting a business, and would love to have some of his work. His response was most encouraging, and he invited me to visit his studio whenever I was in Johannesburg. In those early days, he was not yet so well known: only those really in the know were aware of his extraordinary talent and versatility. I’ll never forget my first visit to Kentridge’s studio. He opened drawer after drawer of magnificent

“I’ll never forget my first visit to Kentridge’s studio. He opened drawer after drawer of magnificent drawings and original prints, and what a choice there was!” drawings and original prints, and what a choice there was! It has been one of the highlights of my career to have gotten to know him and help promote his work over the years. I also vividly remember my first big client – Oprah Winfrey – who was in Cape Town on a private visit, and was recommended to visit our home/gallery by the manager of her exclusive hotel. Although she had not yet become a household brand in South Africa (as her television shows were only aired here later), I was sworn to secrecy about her identity, and was forbidden to even inform the artists whose work she purchased, until long after she had returned to the USA. I fetched her from her hotel early in the morning, and she spent several hours going through every artwork in our gallery, including a large stock

of unframed original prints in two print cabinets. She had an extremely good eye (especially as she was not familiar with the South African art scene), was totally charming and very generous. It was near Christmas, so she spent liberally and there was great excitement, all ‘round! Several years later, we were delighted to welcome Sir Ian McKellen, the great stage and screen actor, to one of our Art Salons at the Bay. Better known to the younger generation for playing Gandalf in the Lord of the Rings movies, he was entranced with several pieces of ceramics on display and purchased some fine pieces, which had to be hastily packed for his early departure to London the following day. AT: Very few South African dealers can claim some 30 years in the industry. After all this time, how has your way of doing business changed? Does it still amount to quality and trust between artist, dealer and client? RK: Absolutely. Just like people trust their doctor or lawyer, they need to trust their art consultant for the 11

partnership to work. There needs to be a special relationship between the art consultant and client, but also between the art consultant and the represented artists. I have always tried to keep up to date with what is going on in the art world and the art market, so that I can inform clients to the best of my ability. AT: How has the way people collect art changed during the course of you career? RK: The past two decades have seen an enormous shift in South African art, with our local artworks becoming increasingly internationalised and our artists taking their rightful place on a world stage, and making huge inroads into the global market. What changed everything in this country was when South Africa finally became a democracy in 1994, and the 30 years of cultural boycott was lifted. Over the last two decades, visitors, and especially museum and gallery directors, have flocked to Post-apartheid South Africa and come to know and appreciate South African art. By purchasing South African art, and taking it home with them, they were exposing our artists to a global audience. Big group shows also began touring overseas and many of our artists became household names overnight. That was terribly exciting, as the interest in contemporary South African art – from both local and international collectors – has continued to grow unabated. AT: Is there any advice that you could give to artists starting out? RK: It’s a very tough world out there. If you have the will, the passion and stamina, you could well make it; but you’ve got to stick it out. Another important aspect of the SA art scene, which has changed dramatically over the last few years, is the recognition given to younger, groundbreaking artists: talented art school graduates are now being snapped up by curators and major galleries almost before they graduate.

“I believe ‘retirement’ is the worst word in the English language!” AT: Any advice for those who want to start their own collections? RK: Attend as many exhibitions as you can to familiarise yourself with what is happening: then find yourself a reputable gallery that you can relate to and trust. This will help you feel confident in that you are getting the best advice possible. AT: So what’s next for Rose Korber? RK: I am considering a number of options, but will still be available for consultations to advise on art purchasing and investment, as well as sourcing artworks from the artists. I look forward to continuing to share my passion for art with clients, both old and new. AT: Do you think you will ever retire from being an art dealer/consultant? RK: I believe ‘retirement’ is the worst word in the English language! People seem to go one way when they retire, unless they have many other interests to pursue. My interest in South African art remains unchanged, and I certainly plan to go on. A recent Observer article featured Marian Goodman, who is one of the foremost gallerists in the world, with her principal gallery in New York, as well as one in Paris. She is now opening her third big gallery in London. Not bad for her age: she is 86, with no talk of retirement whatsoever! I too am feeling very positive, so watch this space! CONTACT ROSE KORBER VIA PHONE OR E-MAIL: +27 (0)21 433 0957 or +27 (0)82 781 6144 Website: (Presently undergoing re-construction) Above: Rose and husband, Morris Korber – a lawyer who may well know more about art than law – in front of one of their large Kentridges. Left: Here a Willie Bester, there a Claudette Schreuders...



Above: Photo: Koen Cobbaert/Berliner Festspiele, via Bloomberg Left: Protesters gathered at the entrance of the Barbican Gallery to shut down “Exhibit B”. Photo: Demotix, via The Telegraph

Below: Select documentation photographs of Brett Bailey/ Third World Bunfight’s “Exhibit B”. Photos: Sofie Knijff, Murdo Macleod

Censorship - “Bigger than Exhibit B” Brett Bailey’s installation, Exhibit B, recently sparked angry protest in London. The protest not only caused the show to close before its scheduled opening at the Barbican Centre, but caused the rest of the exhibition’s tour to be cancelled. Robert Greig from the Daily Maverick refers to this as an act of institutional “defensiveness” in the face of controversy; many more are crying “censorship”. Bailey, the artwork’s performers and representatives from 14 theatres (both SA and abroad) have issued public statements expressing outrage and concern for what the closure of this exhibition may mean in a broader context. In his public statement, Bailey states that Exhibit B’s main focus is the “current racist and xenophobic policies in the EU, and how these have evolved from the statesanctioned racism of the late 19th century. The dehumanising stereotypes of otherness instilled in the consciousness of our ancestors have been transmitted subconsciously and insidiously through the ages.” He goes on to explain the piece: “In Exhibit B there are 12 stages or tableaux vivants. In each, a performer physically characterises an objectified human being... Each installation shows the brutality subjected upon asylum seekers in the EU or inflicted upon colonial subjects... The installation is not about the cultural or anatomical difference between the colonial subject and the spectator; it is about the relationship between the two.” The theatre representatives elaborate on the experience: “Exhibit B ask its audience – one person at a time – to stand alone, very close to a performer, sharing some extremely uncomfortable truths; looking and listening, performer and audience together. Perhaps the most powerful moments we have all experienced in Exhibit B were those instants when eyes meet… For most people who have had the opportunity to experience Exhibit B as a public event, the simple act of being in such close proximity to a performer, sharing and evoking such complex historical and emotional realities, is genuinely powerful, palpable, undeniable. In attempting to

portray something as complex and nuanced as Exhibit B as nothing more than a polemical exercise, without ever having shared its powerful intimacy, [the protesters] have denied a very subtle and humane work of art, its right to be seen and heard.” According to Grieg, “The gist of the [petitioners’] complaint was that the display of black people in cages demeaned all blacks and evoked, painfully, aspects of their history best forgotten or dealt with privately.” Bailey says he is being “accused of exploiting the performers of Exhibit B. The implication is that those who opt to perform in the piece lack agency.” The performers’ responded to these accusations by stating that they are “grown men and women who decided that [their] contribution to Exhibit B would be worthwhile and important”. These free-thinking individuals were admonished via protest, in their words: “that we couldn’t make creative and life decisions for ourselves”. This attitude clearly re-enforces the prejudiced thinking which the exhibition strives against. Bailey thinks that the outrage is rooted in the protester’s “mistaken belief that they are speaking for a silent majority – or saving the unenlightened.” He goes on to say that this sort of thinking is “dangerous for the arts and for society” and has far-reaching implications. “This whole thing is much bigger than Exhibit B, bigger than The Barbican.” Before arriving in London, Exhibit B spent four years touring various European cities and was seen by over 25000 people. Bailey states that “it has been lauded by white, black and brown audiences and critics for the powerful stance it takes against racism, the dehumanisation and objectification of black people, and the sanitisation of the brutalities of European colonialism.” So why is it that it was so badly received in London? This is perhaps due to it touching on a cultural sore-spot, namely England’s history of colonial oppression. Greig likens Exhibit B’s situation to when SA parliamentarian, Baleka Mbete, sought to prevent the display of

one of Kaolin Thompson’s vaginal sculptures “in the name of preserving African dignity, propriety and culture and all manner of such good things”. The editor of the Daily Maverick acknowledges some more recent instances of artwork censorship – Brett Murray’s ‘The Spear’ and Zanele Muholi’s suggestive, queer photography. The instances mentioned above all reveal a fundamental lack of empathy towards the artist and a lack of education about the nature of communication through an artwork. Whatever the viewer understands as the artwork’s ‘message’ cannot be taken as the artist’s intention because it is a subjective interpretation of signs (symbols). While an artist may create an artwork with a ‘message’ in mind, he or she cannot be blamed for offense caused by another person’s imperfect interpretation of that ‘message’. The viewer always has the choice to look away from that which touches a nerve, instead of prohibiting others from potentially gaining something from it. Bailey rightly questions, “Do any of us really want to live in a society in which expression is suppressed, banned, silenced, denied a platform?” By Lyn Holm SOURCES: » Brett Bailey. Yes, Exhibit B is challenging – but I never sought to alienate or offend. The Guardian website, 24 September 2014: » London performers in EXHIBIT B speak out. Artslink website, 29 September 2014: htm?contentID=36547. » Robert Greig. Brett Bailey’s Exhibit B: Art could be as jagged as broken glass. Daily Maverick website, 29 September 2014: VDY_UfmSwnp. » Wiener Festwochen, et al. Theatre reps issue statement re EXHIBIT B. Artslink website, 30 September 2014: http://www.



Bonhams, London

Irma Stern Phenomenon Continues at Bonhams in London with Top Picture Selling at £962,500 (R17.6M) The grande dame of South African art, and one of the top-selling female artists of all time, Irma Stern once again dominated the Bonhams sale of South African art today in London (1st October 2014). Top item in the sale was her ‘Still life with African Woman’ which sold for £962,500 (R17.6m). The 128 lot sale made a total of £2.4m (R44m). Two paintings by Alexis Preller that were inspired by the artist’s international travels also fetched high prices. ‘The Creation of Adam II’, which sold for £326,500 (R6m), was motivated by the artist’s visit to Greece, where he was struck by the distilled beauty of the Greekkouros figures: archaic sculptures from the 6th century BC that celebrated young athletes at the height of their physical prowess. ‘Pirogues, Beau Vallon’, which sold for £122,000 (R2.2m), depicts a scene in the Seychelles, a trip he made in 1948 as an homage to the work and life of Paul Gauguin. South Africa’s leading black artist, Gerard Sekoto, also fetched a sixfigure sum. ‘The Kitchen table’, which sold for £158,500 (R2.9m), depicts a kitchen interior of a shanty in Sophiatown. Sekoto’s unique skill as an artist lay in his ability to convey the human drama behind such domestic scenes. Hannah O’Leary, Head of South African Art, explains: “This painting reveals more than a simple kitchen interior; it expresses the deep familial bond that exists between the sitters. By emphasising their humanity, Sekoto encourages us to empathise with these figures and recognise the injustice of their situation.” Irma Stern (South African, 1894-1966) “Still life with African Woman”, oil on canvas, 79 x 79cm (31 1/8 x 31 1/8in). within original Zanzibar frame Sold for £962,500 (R17.6m)

Stephan Welz and Co., Johannesburg

Vivid Abstract from White City The notorious township, White City, in Soweto where Samson Mnisi spent his childhood played a vital role in developing his advanced painterly style. From an early age Mnisi’s talent to draw was apparent and it was put to good use during his schooldays when he guided fellow pupils to make drawings. Following the turmoil of growing up in an unjust political system, Mnisi chose to express his creative spirit as a fulltime artist; initially painting figurative works that later flowed over into abstract creations. His childhood exposure to traditional healing practices, which are abstract, influenced the development of his oeuvre into abstract expressionism. Symbols, sometimes incised into the human skin, play an important role in rituals and Mnisi incorporated these symbols into his conceptual creations in order to project a deep sense of mysterious communication. Mnisi commented as follow on his work: “l try to follow [the] old traditions, even though the ritual is different and for different reasons. I [sic] used them to communicate my own personal history, at the beginning it was about

the ritual, later it was about art, now it is a fresh language for me and those who understand it”. The most frequently used symbols in his artworks are crosses, parallel lines and the arrow head, which each have their own meaning. In this regard, Mnisi’s African abstraction renders paintings having a secret meaning. The mix in his work with specific cultural symbols, that in itself carries abstract meaning, certainly qualifies as an important innovative addition to modern abstraction. “Untitled” by Samson Mnisi will come under the hammer at the Stephan Welz & Co Fine Art & Collectables Auction, Johannesburg, 25 & 26 November 2014. Viewing takes place 19 – 24 November 10h00 – 17h00 on the 4th Floor, South Tower, Nelson Mandela Square, Sandton. Please see to view the catalogue online or call 011 880 3125 for more details. Follow Stephan Welz and Co. on Facebook, Twitter and Instagram for regular updates.

Edited from: Dr. Fred Scott, Samson Mnisi Exhibition, University of Johannesburg Art Gallery, 2010

Fred Scott with Samson Mnisi (South African 1971-) “Untitled”, signed and dated 2014, oil on canvas 197 by 146cm R 65 000 - R 90 000


Invitation to consign 6th December auction Art, antiques, objects, furniture and jewellery

Walter Battiss, Opera, Incised oil on canvas

083 675 8468 • Corner Garden and Allan Roads, Bordeaux




The National: I am a keen artist and think that adding art to my investment portfolio would be a good move, particularly if I can have that investment hanging on the wall in my own home. But where does someone living in the UAE start? And how can I guarantee a good return? PD, Dubai. Hala Khayat, head of sales – modern and contemporary Arab, Iranian and Turkish Art, Christie’s Dubai. The great joy of art is that no one person has the same taste. I always recommend people buy what they love but do so with as much information about the work and the artist as they can get. You should always seek advice, take an active interest, visit galleries, read articles and talk … but if you are an artist you are probably doing this already…

The Art Newspaper | Martin Bailey and Javier Pes: As fundraising appeal hits its target, there are lessons to be learned for other collections held in trust. The Art Fund, which led the £15.75m fundraising campaign to save the Wedgwood Museum’s collection from being sold at auction, announced today, 3 October, that its public appeal has raised the final £2.74m needed. After its successful Save Wedgwood campaign, the fund plans to transfer ownership of the collection of ceramics, paintings and the archive of the company founded by Josiah Wedgwood in the 18th century to the Victoria and Albert Museum in London to protect legal ownership. The V&A in turn will loan the collection back to the Wedgwood Museum in Staffordshire in the English Midlands…

SA’S NEW AFFAIR WITH ART FAIRS SA Art Times | Staff Writer: Art dealer, Ed Winkleman traced the rise of the art fair back from three main events in 1970 (in Cologne, Basel, and Brussels) to a recent report showing that by 2011 there were 189 art fairs world-wide. Now, in 2014, Winkleman says he has tallied up about 220 current contemporary art fairs around the world. During the recession of 2008, Winkleman said, one would have expected the number of art fairs to start dwindling but more and more galleries looked to these as a haven of sorts amid the struggling business environment… CHINESE BECOMING METROPOLITAN MUSEUM OF ART’S LARGEST VISITOR GROUP | Li Yan: Many people have been making the most of the past week off to do some travelling. Chinese tourists are swarming not only within the country but also beyond the borders. While some may appreciate the beauty of nature, others are in search of cultural immersion. As one of the largest museums in the world, the Metropolitan Museum of Art, which houses over 2 million art pieces, is a must-see for tourists in New York. Last May, when two Chinese tour groups met in the same exhibition hall, the guides tried to out-do each other through volume. One of them, in order to give a vivid presentation of the fresco on display, even sang an extract of Peking opera…

SYDNEY LAUNCHES INTEREST-FREE SCHEME TO BUY ART Artnet News | Jane O’Sullivan: Plans are in motion to launch an interest-free art purchase scheme in Sydney, along the lines of Own Art in the United Kingdom and the one other Australian program, Collect Art, which runs in Tasmania. The scheme will let art buyers borrow between AUD$750 and $20,000, which they must repay in 10 instalments over 10 months. Works can only be bought from participating galleries, and, to be eligible for a loan, buyers will need to pass a credit check – which can be done online in the gallery… ART SALES MOVE ONLINE TO ATTRACT BUYERSS Bloomberg Business Week | Katya Kazakina: At online art vendor Auctionata’s 4,000-square-foot Midtown Manhattan offices, works for sale by Andy Warhol, Marc Chagall, and Alexander Calder are being hung on the walls. Staffers, seated at long plastic tables, are assigning values to watches, paintings, and handbags. The goods are then stored away in metal lockers. With $57 million in funding, the Berlin-based startup is preparing for its first U.S. auction on Oct. 23. Auctionata, which sold €12 million ($15.1 million) of fine art and collectibles online in the first half of 2014, plans to stream eight auctions of art, luxury goods, and 20th century design objects from New York by the end of the year…

A POTENTIAL GAME CHANGER FOR ESTATE TAXES ON ART The New York Times | Paul Sullivan: In life, James A. Elkins Jr., a prominent Houston businessman and philanthropist, amassed a portfolio of art that was the envy of museums and collectors. He owned works by Pablo Picasso, Jackson Pollock, Jasper Johns, David Hockney, Willem de Kooning and other modern greats. In death, that $35 million collection is the envy of the tax man. After Mr. Elkins died in 2006, his estate paid millions of dollars in taxes on the art. But the Internal Revenue Service said it was not enough and asked for another $9 million. They have been battling in court ever since…

WHAT MAKES ART SELL? 10 QUESTIONS THAT ESTABLISH THE VALUE OF A PAINTING The Huffington Post | Philip Hook: Two years ago a version of Edvard Munch’s The Scream fetched $120 million at auction. Last year a Francis Bacon portrait reached $143 million. To the outside world, the pricing of art is a mystery. Why does one work sell for $10,000, another for $1 million, and yet another for $100 million? I have drawn together various strands from my book Breakfast at Sotheby’s: An A-Z of the Art World (Published by The Overlook Press, October 2014) to formulate the 10 questions you need to answer to establish the value of a painting…

GIACOMETTI SCULPTURE COULD BREAK $100 MILLION AT SOTHEBY’S Artnet News | Eileen Kinsella: As auction houses gear up for the major fall sales, news of several blockbuster consignments is starting to trickle out. Following the revelation from Sotheby’s last week that it has secured a rare Vincent van Gogh still life that is expected to sell for between $30–50 million, the house has revealed it will offer two extremely rare and iconic sculptures – by Amedeo Modigliani and Alberto Giacometti – that have never appeared at auction before and will undoubtedly be among the leading lots at the November 4 evening sale of Impressionist and modern art…

WHAT IS BEHIND THE ART INVESTMENT BOOM? Artnet News | Alexander Forbes: In celebration of Luxembourg’s newly opened free port (see “Le Freeport” Opens in Luxembourg), consulting giant Deloitte released its third Art and Finance Report on Wednesday. The report (which can be downloaded in full here) offers a wealth of new data and insight into the ever-growing art investment sector, as well as some of the motivations of key stakeholders in the fields of art and finance. All told, 261 private banks, family offices, art collectors, and art professionals contributed to this latest study…

Read these stories and more, Art Times Daily News: SA ART TIMES | NOVEMBER 2014


Strauss & Co., Cape Town

Irma Stern steals the show once again Over R32 million was realised at Strauss & Co’s auction in Cape Town on 13 October 2014. South African art comprised 75% of the sale and achieved a 76,5% sell-through rate by value. This is the highest sell-through rate recently achieved in an auction in the current market. Irma Stern, South Africa’s foremost artist and one of the top-selling female artists of all time, once again stole the show when Tiger Lilies, a major work by the artist, sold for R6 593 440. “Tiger Lilies” was painted in 1932, shortly after Irma Stern’s return to Cape Town following successful exhibitions in Berlin, Paris, The Hague and London. The painting is regarded as seminal in her oeuvre. Another highlight was Stanley Pinkers’s “OH AHA…” which sold for R1 477 840. Stanley Pinker, who died in 2012, is regarded as one of South Africa’s most significant artists. He was acclaimed as a mentor and teacher by many younger generation artists. As the subject of major museum exhibitions and catalogues as well as a serious monograph, he commands critical attention among collectors. William Kentridge also performed well with two works, “Drawing for the Magic flute” realising R1 477 840, and “Tree”, R522 928. A spokesman for the company commented after the sale: “The evening proved that, despite difficulties in the market place, collectors are willing to open their cheque books for items of quality.” Next Auction: Important South African and International Art: Monday 10 November - Wanderer’s Club, Johannesburg View all auction lots: Enquiries: 011 728 8246 | 021 683 6560 |

Irma Stern, “Tiger Lilies”, signed and dated 1932 oil on canvas, 89 x 60cm Sold for R6 593 440

Provenance Auctioneers, Cape Town

Upcoming Interiors Sale On 12 November at 18:00, Provenance will host its bi-annual Interiors Sale. This event commemorates Provenance’s third birthday. A fine collection of South African and European art; as well as Victorian, Edwardian and Art Deco antique furniture, and silverware will be on offer.

Erich Mayer (1 of 30) Est R2 000 - R3 000

Gregoire Boonzaier Est R18 000 - R24 000

View all items on this auction: 6 – 7 November (09h00 – 16h00) 7 November (09h30 – 12h30) or at More info: tel (+27)21 461 80 09 or email

Johannes Petrus Meintjies Est R40 000- R60 000


Nicolaas Maritz Paintings, Drawings & Prints NEW full colour 100 page monograph with artist’s notes. Includes comprehensive Introduction, Biography, Exhibitions List, Collections and Bibliography.


Penny Dobbie Gallery, Cape Town: 021 424 8349 Kalk Bay Modern, Cape Town: 021 788 6571 Clarke’s Bookshop, Cape Town: 021 423 5739 Book League, Darling: 022 492 2667 Dawid Ras, Johannesburg: 082 492 9777

Maritz Studio Gallery 5 Nemesia Street, Darling 078 419 7093 /

The South African

Print Gallery

Joshua Miles Reflecting opening: Thursday 27 November at 6:30pm - 15 jan 2015 109 Sir Lowry Road, Woodstock, Cape Town,

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Cecil Sash BIRD WITH RIBBONS oil on canvas R 25 000 - R 35 000

JOHANNESBURG 25 & 26 November 2014 Viewing 19-24 November

SW853 art times

Johannesburg Auction House | 4th Floor | South Tower | Nelson Mandela Square | 011 880 3125 | Stephan Welz & Co STUDIO | Shop L38 | Nelson Mandela Square | 011 026 6567 Cape Town 021 794 6461 | 47


The Business Art Times | November 2014 | Free | Read daily news on


Strauss & Co. Warms Up for Africa’s First Major Contemporary Art Auction Ed Young, “Arch”. See Strauss & Co.’s Contemporary Art Auction, February 2015

South African Art Times November 2014  

The South African Art Times is South Africa's leading visual art magazine

South African Art Times November 2014  

The South African Art Times is South Africa's leading visual art magazine