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ART TIMES The South African Art Times: SA’s leading visual arts publication | October 2013 | Free | Read daily news on

Art for Me 25-27 October 2013 The Lookout, V&A Waterfront CT

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IMPORTANT SOUTH AFRICAN AND INTERNATIONAL ART Monday 11 November 2013 Johannesburg Enquiries and Catalogues +27 (0)11 728 8246 or +27 (0)79 367 0637

Jane Alexander Untitled 1985/6 R2 000 000 – 3 000 000




Auction opens: Monday 14 October 2013 Auction closes: Friday 15 November 2013

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vivian van der merwe

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sasol art museum 52 ryneveld street stellenbosch

until 26 october 2013

Asha Zero Julia (1975 Teale -) The Present Spandex-Vice of Vermeer’s (detail)Future 2005 acrylic oil on oncanvas board Sanlam980 Art x Collection 820 mm

SPI National Portrait Award Exhibition 2013 EXHIBITION SCHEDULE Rust-en-Vrede Gallery, Durbanville 28 August – 8 October 2013 University of Johannesburg Art Gallery, Johannesburg 24 October – 13 November 2013 Stephan Welz & Co, Alphen Constantia, Cape Town 22 November 2013 – 10 January 2014


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SA Art Times purchases a timeless, quality Heidelberg press Here’s to the next step of The At Times at 6 000 impressions per hour The Art Times has bought its first hands on Heidelberg Printing Press, and is up and running, sounding between a Panzer and a purring tiger. As a fine art printmaker and a publisher, the energy of the press in the workspace makes the pleasure of publishing thought into word/ image even more complete. The noise of rollers speeding at 6000 page impressions per hour and the smell of ink and paper makes the job of broadcasting the news on something handcrafted, and amazing. I decided to buy the press in order to triple our current print run from 8 000 to over 20 000 (over and above the 20 000 online readers). This is a monthly circulation the SA art community has not seen before and the benefit of exposing our great SA art to a growing readership is enormous, its something that I enjoy immensely. The press has come at the small price of putting us a bit behind schedule with the release of the October Art Times edition. Due to setting the machine up and finding the right machine minder and fast track learning of how to develop plates etc. In the long term having the press in house will cut down the current 1 week wait at the current printers queue to hopefully 1-3 days, while also reducing the publishing production costs. In addition to the increase in newspaper circulation we are simplifying the new Art Times website. Look out for the free mobile apps available on the website earlier next year. I hope to post on YouTube the sound of the machine printing, it sounds like music, maybe we’ll play “Flight of the Valkyries”, or “Ode to Joy” in the background sending good karma your way that you will be sure to pick up on your finger tips. Best, Gabriel Clark-Brown

With the highly successful and well run Joburg Art Fair 2013 behind us we look forward to the debut Art for Me Art Fair happening at the V&A Waterfront, later this month. Art for Me promises to fill some of the gap for Cape Town art lovers and collectors with hopefully more affordable prices with more local gallery representation. Some have asked the organizers to rename their title to The Cape Town Art Fair, and possibly move it to Cape Town’s unique Art season of December through to February. During this time the art year ends in Johannesburg, it is the school holidays and the festival season kicks in. Buyers flock to the coast, and international holiday makers would enjoy walking around to sample local art. This year, despite the recession, there has been growth and invention in the SA Art sales market with 4 new art happenings that includes the wonderful Nelson Mandela Bay Arts Journey (PE), Turbine Art Fair (Jhb), FynArt (Hermanus) and Art for Me (CT).These compliment a whole buffet of Art Festivals such as the KKNK, Grahamstown Festival, Aardklop. This growth seems to be keeping up with the international art trends of having huge art fairs with quality galleries and the organizers are able to drive a large amount of public through the fair. My small wish would be to have both NAADA (National Art and Antiques Dealers Association) and Joburg Art Fair, on two different levels at the same time at the Sandton Conference Centre, in order to bring in and crossover different collectors. After you have taken care of up-classing your furniture and walls on levels 1 and 2, one could pop up to level 3 to a book or film fair. As Howard Hughes once said, its all about timing, along with what Woody Allen said basically about being famous: it’s 90% about showing up.


johans bo r m a n F I N E



Hugo Naudé ‘Spring, Namaqualand’ (1925) Oil on board

New KZ Natal Museum Honours Gerard Bhengu By Patrick Chapman One of the strengths of our brave new South Africa is a broadening of the base in all our endeavours – the opportunity for and expectation that all the peoples of our land should contribute to its success. In the world of art, the Venice Biennials has presented SA artists who previously might simply have been ignored. Leading galleries are now quick to identify and nurture the careers of black artists. Our heritage, too, is being combed for less well-known artists of colour. One of these is the KwaZulu–Natal artist Gerard Bhengu (1910-1990) who is being recognised in the naming of a new art museum at Centocow to open on 26 September this year. Centocow, 1 ¾ hours west of Durban in the direction of the Drakensberg, is one of a small chain of Trappist mission stations originally established at Mariannhill in 1888. Born at the mission at Centocow (the name being a corruption of Czestochowa, Poland, home to the centuries-old icon - Black Madonna), Bhengu was treated for TB by the local doctor, Dr Max Kohler. Recognising the youngster’s gift for drawing, Kohler made art materials and a studio available to him and employed his accurate sketching skills to illustrate medical conditions in the local population. The realisation that his passion for art could be a source of income was a great motivation for Gerard Bhengu and several patrons emerged to help him in his career. In the 1930’s, the missionaries invited him to paint some religious images but the patronage apparently ended because of Bhengu’s socialising and drinking. This bohemian side emerged again in 1936 when he was commissioned to do a series of murals for the Empire Exhibition in Johannesburg. Big city distractions were too much for him and his work was not up to standard. Dr Killie Campbell who founded the Durban ethnological collection that bears her name commissioned him to illustrate tribal customs and costumes and he found a steady market for his portraits at Payne Bros department store in Durban. The writer Phyllis Savory used him as an illustrator and in 1965 devoted a book to Bhengu. Twice married, he lived until his death SA ART TIMES. October 2013

in Durban. His work was shown at several group and solo exhibitions in Durban and Johannesburg in the 70s and 80s. Retrospectives were held in Pietermaritzburg and Durban in 1995.

A showcase for the best of SA Masters and leading contemporary artists

Citadel’s recent ranking of the top 100 SA artists by transaction volume (not value) at leading local and London auction houses shows only a dozen names of non-Caucasian origin. Headed by Sekoto and Pemba, Bhengu comes in at around 80, just after Jean Welz. One of Bhengu’s rarer watercolours, a fireside scene, fetched R156 000 at the Strauss & Co auction in October last year. The building to be relaunched as an art museum/ gallery is the first of two churches at Centocow mission station. The great success of the Trappist fathers was guided by their proselytizing faith and sustained by their motto “Ora et Labora” (Prayer and Work) which they clearly took seriously. They farmed and taught and healed. They baked the red earth into bricks and built, in 1892, the imposing Neo-Gothic church to serve the community. An even grander church, also with a lofty tower in the Italian style, was built a brief 20 years later. This is still a place of worship. The first church became a school and over the years, as the population of the region declined, it fell into disrepair. Now magnificently restored by a team under architect Robert Brusse, it opens on Thursday, 26 September to house Gerard Bengu’s works on paper; pencil and ink and watercolours. The R4,4m restoration project was driven by the local Ingwe Municipality as a core of their tourism initiative. It was funded by The National Lottery, the Sisonke and Ingwe Municipalities, the Campbell Collection and private donors with the support of the Mission (which is now part of the Catholic diocese of Umzimkulu). Management and running costs have been taken under the wing of the KZN Department of Arts and Culture. The impressive building must rank as the first new provincial art museum since transition and is a grand tribute to Gerard Bhengu.

Walter Meyer ‘Hinterland’ (2008) Oil on canvas

Telephone: 021 683 6863 E-mail: Mon-Fri: 09h30 - 17h30 Sat: 10h00 - 13h00 or by appointment

16 Kildare Road, Newlands Cape Town

Ben Coutouvidis ‘Rebuilders’ Oil on canvas 07


Art for Me

25-27 October 2013 The lookout V&A Waterfront Cape Town

see more at:

Making Contemporary Art Accessible to All Supplied. Art For Me is South Africa’s new exhibition of Contemporary Art. It is an exhibition of works for purchase, and is set to be the nation’s leading showcase for contemporary art with price points below R50,000. Our formula for the exhibition is simple: introduce a fresh, affable environment that is filled with contemporary art of exceptional quality. Each visitor to this lifestyle event will discover something of great value. On view will be an array of artworks made in traditional media: paintings, drawings and sculptures. Also available will be fresh artworks in photography, print and ceramics. Art For Me is an exhibition concept that proposes a lifestyle experience. In Art For Me’s urbane environment, visitors will enjoy delectable seasonal delights and bubbles while acquiring art publications; decadent indulgences at a teahouse while listening to live music; pick up art supplies while the children enjoy fun activities just for them. Art For Me is produced and managed by Fiera Milano Exhibitions Africa, Fiera Milano Italy has also been conducting MiArt for the past 15 years in Milan. It is this expertise which will be accorded to exhibitors in Art For Me, ensuring the highest standards of service excellence, a first-class venue, outstanding visitor attendance levels, and unrivaled advertising, marketing, social media and PR campaigns. Fair Dates & Times Thursday, 24 October 18h00 – 21h00 – VIP Preview (by invitation only) Friday, 25 October 09h00 – 12h00 – VIP/Media/Trade 1st viewing 12h00 – 21h00 – open to public Saturday,26 October 10h00 – 21h00 . Sunday, 27 October 10h00 – 18h00

Galleries taking part include: Allderman Gallery | Art in the Yard | Art on Church | AVA Gallery | Barnard Gallery | BRUNDYN + GONSALVES | Carmel Gallery | Diedericks/Faber | Donald Greig | Ebony | Holden Manz Collection | INC | Lovell Gallery | Luvey ‘n Rose | outoftheCUBE | POST | Provenance | Salon91 | SMAC Art Gallery | Stephan Welz & co | The Bronze Age Gallery The Cape Gallery | The Christopher Moller Art Gallery | The Kalk Bay Modern Gallery | The Keiskamma Art Project | The South African Print Gallery | Worldart

SA ART TIMES. October 2013



On the art media radar SA kuns floreer in Frankryk : 800 kunstenaars daar vir uitruilprogram: Min mense hier is bewus van die ruim kunste-aanbod uit Suid-Afrika wat nog tot Desember as deel van die Frans-Suid-Afrikaanse seisoen in Frankryk aangebied word.Dié seisoen is ’n kunste-uitruilprogram tussen die twee lande. Verskeie Franse kunstenaars het verlede jaar hier daaraan kom deelneem. Tot einde Desember is meer as 800 Suid-Afrikaanse kunstenaars en akademici deel van 150 produksies in meer as 100 Franse stede.Suid-Afrika is die eerste Afrika-land suid van die Sahara wat opgeneem word in die geledere van lande met wie Frankryk in die verlede al soortgelyke ooreenkomste gesluit het – lande soos China, Japan, Indië, Turkye, More on SA Art Times Facebook Ad Tycoon Charles Saatchi Is Selling Nearly $400,000 Worth Of Art In An Online Auction : COLIN GLEADELL, Charles Saatchi eschews conventional auction houses to sell his collection of Middle Eastern contemporary art online, says Colin Gleadell. Charles Saatchi has chosen a new online-only auctioneer to sell works from his collection of Middle Eastern contemporary art this month, rather than a more familiar live auction at Sotheby’s, Christie’s or Phillips. More on SA Art Times Facebook Haan aan die punt van ’n lint te erg vir Franse : Steven Cohen, die Suid-Afrikaanse performance-kunstenaar wat al etlike jare in Lille, Frankryk, woon, is Dinsdag op die Place de Trocadéro in Parys letterlik deur die owerheid in sy spore gestuit.. More on SA Art Times Facebook

What is African Art? A Question of Identity at Harare’s latest Gallery By A.A.V. Amasi: For art enthusiasts seeking an edgy alternative to the National Gallery of Zimbabwe in Harare, Njelele Art Station provides one of the best of the city’s creative spaces. Njelele, a unique gallery situated in the Kopje area of Harare, is a delightful sanctuary from the noise and commotion of a somewhat dilapidated part of the city.Patrons can appreciate the creative instalments displayed within its serene enclosure, or meet within the gates of the Art Station’s front yard to network and discuss the works of exhibited artists. . More on SA Art Times Facebook

How has money changed the Brazilian art scene? : The BBC’s arts editor Will Gompertz travels to Brazil, which has enjoyed a period of significant economic growth and an increasingly high international profile. Over the next three years it will host the World Cup and the Olympic Games. In Rio he checks out the art scene and gauges the affect that all the attention and money is having on the city’s Carioca culture - Carioca being the nickname Brazilians give to those born and bred in the city. More on SA Art Times Facebook

3D-Printed Guns As Art: London Design Museum Buys Two ‘Liberator’ Printed Pistols One of the two 3D-printed Liberator pistols acquired by London’s Victoria & Albert MuseumThe world’s first 3D-printed gun known as the Liberator has been treated as a technological marvel and a terrorist threat. Now it’s officially become a work of art.On Sunday, London’s Victoria & Albert museum of art and design announced that it’s buying two of the original Liberator printed guns from their creator, the libertarian hacker non-profit known as Defense Distributed. The museum is acquiring the guns and a few other printed gun components for an undisclosed price, and will display them during its ongoing Design Festival.Cody Wilson, More on SA Art Times Facebook Hotel Exchanges Porn for Contemporary Video Art : Travelers Today By Karen Fredrickson: A Scandinavian hotel chain has removed pornography from the hotels and replaced it with contemporary art, according to the Guardian.Nordic Choice hotels owner by Petter Stordalen decided to take this action after becoming involved with UNICEF and their campaign to help 1.2 million children who are victims of trafficking and sexual exploitation.”The porn industry contributes to trafficking, so I see it as a natural part of having a social responsibility to send out a clear signal that Nordic Hotels doesn’t support or condone this,” Stordalen said. “It may sound shocking or unusual, but everyone said that about the ban on smoking. More on SA Art Times Facebook New curator on the block : MATTHEW KROUSE: Silvia Pillon, in charge of the noncommercial side of the Jo’burg Art Fair, discusses her role in staging the event.Silvia Pillon is the recently appointed curator of the FNB Jo’burg Art Fair that opens this weekend. With her colleagues at the art fair office, under the trade name Artlogic, she has pulled together this year’s event, which includes 33 galleries, 11 of which are newcomers.This year the focus is on photo-graphy, a form in which South Africans have excelled, and continue to, internationally. And the programme is as ambitious as ever. More on SA Art Times Facebook

Aardklop dis landkuns op : Van der Merwe 2013 se feeskunstenaar : Die eerste twee Site_Specific-landkunsuitstallings wat in 2011 en toe weer verlede maand in Plettenbergbaai in die Suid-Kaap aangebied is, kry op verskillende maniere gestalte in Noordwes op vanjaar se Clover Aardklop Nasionale Kunstefees.Strijdom van der Merwe, stigterslid van Site_Specific, is vanjaar die feeskunstenaar op dié Potchefstroom-fees. Boonop bring van die kunstenaars wat aan dié twee uitstallings deelgeneem . More on SA Art Times Facebook

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Dumisani Mabaso 1955 - 2013 WHAG’s resident artist, Dumisani Mabaso, died last Monday (23 September 2013) at the age of 58. As a tribute to him, as both distinguished printmaker and man, we reproduce probably his last interview, which was conducted hardly three months before his death. The interview is an excerpt from a book to be published in 2014 which describes the social impact in the Northern Cape of the substantial outreach programmes emanating from the gallery.

By David Robbins, author and WHAG chairperson Photo take in the Kimco Studio in Kimberley. I HAD visited Dumisani Mabaso one morning in his studio flat. It had been built in the middle of the WHAG complex, and I knew that immediately beyond one of his bedroom walls classical sculptures of the human form were displayed under brilliant spotlights. Access to the flat was from a rear courtyard directly into the living room, this space now dominated by a press and work tables. When I arrived, a local artist working with Dumisani was sitting at one of the tables poring over a copper plate, so Dumisani and I sat in the kitchen to talk. He was a small man, very thin, and with perceptive eyes. He had a gentle voice, calm and wise. Or perhaps his tones were more world-weary. Yet, although often unwell as he approached his sixties, his eyes shone with interest – and he remained an accomplished artist and printmaker. ‘I was born in Dube in Soweto in 1955,’ he said. ‘I grew up in troubled times. In school, I only went as far as grade four. But my father was a printmaker and he would sometimes take me to the factory where he was employed and I would watch him work. I started art when I was twelve or thirteen. I took lessons at the YWCA where I came into contact with people like Janet Rustovski and later with Eric Mbatha. I also started sculpting with clay. ‘Then in 1975, when I was nineteen, I applied to go to Rorkes Drift – and I got in. But after six months I was asked to leave.’ Dumisani smiled slightly as he related this. ‘I had been stepping on toes rather than toeing the line. But I was given a second chance. In 1977 the principal wrote asking me to come back. I went, and I stayed for two years. I learned a lot about print making, and also about spinning and weaving. ‘Back in Johannesburg I worked as a junior lecturer at an art centre in Soweto. At the same time I got a job with the South African Council of Churches, teaching women to spin and weave and do macramé using natural dyes. But I wanted to study further. I tried to enrol at the all-white Wits Technikon. I was turned down. Even when I showed them my Rorke’s Drift certificate, they weren’t interested. I knew some of the lecturers in the art department. People like Philippa Hobbs, who smuggled me in, even though from time to time I had to hide from the authorities. I used to stand on the fire escape 12

until they had left the studio again.’ Behind him, as we chatted in the kitchen, stood the stove and a collection of pots and pans. I heard voices from the studio. Someone had come for a lesson. Later I heard some trumpet jazz played softly through Dumisani’s music centre. He continued to relate the details of his life. I continued to listen. His life constituted a seesaw of initiatives and ingenuities on one hand and setbacks on the other. He said: ‘An architect I knew gave a loan and I bought a small press. I set up in a studio in Market Street in downtown Johannesburg. I had collaborations with people I had met at Rorke’s Drift and the Technikon, a wonderful cross-section of races and talents. But our white neighbours complained. This put an end to the studio, and I moved out of Johannesburg to Hammanskraal where I had been asked to set up a spinning and weaving workshop.’ The years passed in this seesawing way. In the middle 1980s, with the country beginning to seethe in open political turmoil, Dumisani established Squzu Press. A picture-framing firm gave him space, again in central Johannesburg, where, besides his serious printmaking work, he made small colour etchings of flowers, which his landlord would frame and sell, thus providing a reasonable basis for his tenure. But the Group Areas Act, soon to be abolished as the National Party clung to power, again intervened. Squzu Press moved back to Soweto, and then to Auckland Park into a house owned by German artist Albert Rack whose wife was keen on spinning and weaving. So Dumisani was able to exchange his expertise for space to set up his press in the middle of the commune the Rack house had become. But very soon this space was also lost. ‘At about this time,’ Dumisani continued, ‘I heard of an art competition run by Thopelo, an organisation dedicated to breaking the barriers between black and white art in South Africa. I entered and won. The prize was a month in New York. I must tell you that I was also very interested in music. I played all sorts of drums. Anyway, I came back from New York with a miniature recording studio in my luggage, which I set up at my parents’ house. I ran the studio with a friend, Zolile Bacela, who was a highly talented guitarist. While we were doing that, I did lecturing jobs at the Funda Centre in Soweto and for the Johannesburg Art Foundation. I also went to Mozambique and Namibia and Botswana, giving workshops in print making and weaving. ‘By 1994, my interest had focussed once more on my own printmaking. I gave the recording studio to Zolile, and now I bought a semi-detached property in Bertrams and turned one side into the Squzu Press studio, and rented out the other. That was a big mistake. The place turned into an overcrowded slum, and I was forced to move again. And that was when I first started coming to Kimberley.’ He sat back in his chair, as if to say, ‘and the rest you know’. But I pressed him to continue. We sat at the kitchen table, listening for a moment to the jazz and conversation coming from the studio. Now that he had sat back, I had a full view of the pots on the stove. In a moment he leaned forward again. ‘Well,’ he said, ‘my friend in Kimberley was Rochester Mafafo, a very fine artist who at one stage served as a member of the Council at WHAG. I did quite a lot of stuff in Kimberley: working with the San people when they were moved from the tents at Schmidtsdrift to Platfontein. Then I met Ann Pretorius and some of her staff. They gave me an exhibition at the gallery in 2006. Then I suggested that we set up Squzu Press at the gallery. Ann agreed. She did all the preparatory work. She was so open-minded and decisive. I’ve never met a person as warm and open as Ann. She’s an angel with ten toes but no wings.’ We smiled together. I asked what ‘squzu’ meant, and Dumisani replied in this way: ‘I had a friend at Rorke’s Drift by the name of Vincent Kubeka. He would always use the word as a substitute for friend. “Hullo, Squzu,” he would say. Then he died. He was very young. So I named my print-making activities in memory of him.’ SA ART TIMES. October 2013


Dumisani Farewell Philippa Hobbs

Dumisani Mabaso: Master Printmaker Published as is from The Artist Press website Dumisani Mabaso is a painter and printmaker. Mabaso has been involved with printmaking for over two decades in South Africa and he established The Sguzu Printmaker’s Workshop in Johannesburg. Mabaso’s father was a commercial printer and introduced his son to the world of printing presses, paper and ink at a young age. Mabaso took a turn away from the commercial world of printing and began exploring the possibilities of original prints during his time studying at Rorkes Drift.In the first series of lithographs produced at The Artists’ Press in 2002, Dumisani Mabaso has worked in an abstract way, which relates very closely to his painting and intaglio printmaking. Mabaso is a master of manipulating his materials and printing techniques to get maximum effect out of them. His mastery is an exciting challenge for those that collaborate with him. He is also a gifted teacher and has inspired many of todays up and coming artists such as Colbert Mashile .Dumisani Mabaso began working on the “When your number comes in…” series of prints in the winter of 2004. He became very ill and was unable to finish the prints that year. In 2006, back in fine health, Mabaso returned to the studio and the collaboration was completed and the prints editioned. Mabaso has pushed the mixing of colours in lithography almost to its limit in this series of prints and shows off once again his fine understanding of the printing process and the his ability to manipulate colour. Using the national SA ART TIMES. October 2013

“When your number comes in...” Title: Lotto I Medium: Ten colour lithograph Edition size: 50 lottery, Lotto, as his starting point Mabaso has created a series of prints that ask more questions than giving answers. Phrases that come to mind when looking at these prints are: “your number is up”, “un/lucky number”, “counting on winning/loosing”, “hitting the jackpot”, “dead reckoning”, “a thousand to one”, “counting on something/someone”, “count me in/out”, and “out for the count”. The numbers like those in the Lotto are random and uncontrolled and yet they fit into a graphic order, supported by either a large one, two or three. These are philosophical questions but there is also the social side to the Lotto and how spending money on taking a chance has become a major drain on the finances of the poor in South Africa. Mabaso, who is no stranger to hard times, understands the allure of suddenly having all your financial problems solved when your number comes in. The Lotto, and those who win and loose it, are a microcosm of how money and people work and the strong negative and positive aspects to either having or wishing for lots of cash. Take a chance on these prints…. Texture and pattern are an important part of the work that he creates. Inspired by traditional African pottery and craftwork Mabaso has woven the identity of Africa into his work. The tactile qualities of the lithographic drawing materials also play a role in determining the prints, with tusche, toner, crayon, rubbing, stencilling, gum stop-out and splattering all contributing to the energetic way in which the prints have been drawn. Dumisani Mabaso inspired Tommy Motswai

In 1982 a young man was brought into my printmaking class at the Wits Tech. His name was Dumisani and he had graduated at Rorke’s Drift, about which we had heard a lot but knew nothing, so he was immediately intriguing to the students and staff. We were being asked by my immediate senior, Willem Boshoff, to include him as one of our printmaking students, despite the fact that in those dark apartheid days it was technically an offence for him to be there. Dumisani had this kind of determination and was instantly likeable, always reflecting on the feedback he got on his printing, even though there was actually little I could teach him. Some of my young students struck up a collaborative printing group with him – he had that kind of effect on people. He was good to be with. Collaboration and communication with artists was to be the leitmotif of his life, whether at Squzu Studio in Bertrams, or at the later Squzu at WHAG in Kimberley. Watching Dumisani run a colour monotype workshop in Kimberley was like watching a musical conductor at work. In one of his groups he had a delegation of San artists, some Portugese speakers, some young Afrikaans boys, one or two English tannies and a sprinkling of other types. He effortlessly switched languages as he gave everyone his careful attention. And when he found he couldn’t speak a language he made sure that by the end of day he could. It was a privilege watching the linguistic and artistic maestro at work. His first colour relief print in dramatic hues that I saw in 1982 sticks in my head. But there were to be times when he would dismiss colour. Later on his relationship with colour seemed to become like his health – it ebbed and flowed. One came to count on both returning. My happiest times with Dumi were the interviews I was privileged to have with him, starting in about 1995. He was a highly accomplished printmaker, inventing mixtures and solutions to widen the menu of creative possibilities for the artists around him. He was knowledgeable, prolific and insightful about his own work and that of others. Dumisani is not gone: he speaks on quietly through his collaborative and personal legacy. He surely has a special place in the history as an educator, communicator, artist, and as a South African. Rest in peace, Dumi. 13



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Eastern Cape Alexandria Quin Sculpture Garden A permanent exhibition of Maureen Quin’s sculpture’s, drawings and paintings. Maureen Quin’s work is exhibited in her peaceful garden and gallery, where you can not only enjoy refreshments but also engage with the artist. R15 entry fee. 5 Suid Str. Alexandria. T. 046 653 0121 / 082 770 8000.

Bathurst The Workshop Art and Craft Gallery Showcasing over 100 local artists & crafters - art, sculpture, ceramics, stained glass, mosaic, handweaving, handspinning, handcrafted furniture, antiques, Oregon frames, easels, fabric art, leather work, handcrafted jewellery, papier mache and handmade candles. 289 Kowie Rd, Bathurst. C. 073 3929 436.

East London Ann Bryant Art Gallery Coach House Take a new look at the art of mosaic, 31 Oct - 16 Nov 2013. 9 St Marks Road, Southernwood. Floradale Fine Art Poetic Licence, Floradale Fine Art has pleasure in announcing an exhibition of new work by the Artists of this Gallery under the title “Poetic Licence” which will show from the 31st Oct. 2013. Old Gonubie Rd, Beacon Bay, East London. T. 078 294 7252.

Port Elizabeth ART Gallery Annual Regional Eastern Cape Ceramic Exhibition, This exhibition will showcase the best work of Eastern Cape Ceramists including work from Nelson Mandela Metropolitan University students and professional ceramists including Donve Branch, Lydia Holmes, Delphine Niez, Margie Higgs – to name a few. Open: Friday 11 October. Close: 9 November, 51b Cuyler Str, Central. T. 072 379 5933. ArtEC - EPSAC Community Art Centre 36 Bird Street, Central, Port Elizabeth. T. 041 585 3641. Fischers Art Gallery This historical site, with one of the oldest lifts still in use, has been transformed into an exquisite gallery. It’s unique Art Nouveau architecture houses a display of fine art by many renowned EC Artists as well as gift ware. 1 Park Drive, PE. T. 041 585 6755. C. 082 460 6483 Nelson Mandela Metropolitan Art Museum Until 16 Sept, ‘Transforming The Everyday Into Art’. Come and see how artists have used found objects in ways that challenges the boundary between art and the everyday. 1 Park Drive, Port Elizabeth. T. 041 506 2000. GFI Art Gallery Two Exhibitions: Vanitas and Measuring Dust, Vanitas 2013 group exhibition with 20 painters, curated by Clare Menck Measuring Dust, NMMU Student Landscape Drawing @ Waterval Farm, 30 Park Drive, P.E. T. 041 586 3973. Underculture Contemporary For Play’ launch exhibition of selected Eastern Cape and national artists. ‘For Play’ aims to establish the future tone for the Underculture Contemporary gallery by providing a

SA ART TIMES. October 2013

platform for engaging, conceptual South African art within the Eastern Cape. There is no set theme for the exhibition however, in spirit of the gallerys first experience, the exhibition title, For Play, suggests the potential of a playful beginning 23 Oct- 27 Nov.

Free State Bloemfontein Oliewenhuis Art Museum 4 Oct. until 10 Oct. 2013 The Loerie Awards Travelling Exhibition : View recent Loerie winning work at close quarters and experience the value of creativity in brand communication., 16 Harry Smith Str, Bloemfontein. T. 051 011 0525. Gallery on Leviseur Inconvenient Truths, Jimmy Law: 5th Oct. till 15th Nov. 2013. Starts at 11am., 59 Dan Pienaar Avenue, Westdene.

Clarens Art & Wine Gallery on Main Housing a collection of art by well-known artists including: Frederike Stokhuyzen, Gregoire Boonzaier, J.H. Pierneef, Erik Laubscher and Jean Doyle, amongst others., 279 Main Str. T. 058 256 1298. The Gallery Clarens Dedicated to exhibiting and promoting established, midcareer and emerging artists of imagination and ability., c/o Main and Market Street. T. 058 256 1913. Johan Smith Art Gallery The gallery permanently exhibits a wide variety of classical and selected contemporary art works featuring Johan Smith, Elga Rabe, Graham Carter, Gregoire Boonzaier, amongst others. Specializing in ceramics, the gallery supports artists such as Hennie Meyer, Karen Sinovich, and Heather Mills, among others. Windmill Centre, Main Str. T. 058 256 1620. Richard Rennie Gallery Gallery exhibits the work of Richard Rennie and a few personally selected guest artists. Known internationally for his water colours, he has recently been concentrating on modern works in oil. Main Str. T. 058 025 6017. C. 083 447 9925, Main Str. T. 058 025 6017


Alice Art Cecile Walters 5 & 6 Oct. 217 Drive Str, Ruimsig. T. 011 958 1392 C. 083 331 8466. Art Eye Gallery ‘Spill’ 23 Oct. - 5 Nov. Terri Broll uses oil and wax in a series of figurative works., Shop 109, The Design Quarter, Fourways. T. 011 465 7695. Art etc Showcasing a wide variety of SA artists, ranging from old masters to the budding future masters. Each artist has been hand-picked to make sure a high standard is maintained. We send paintings all over the world as well as deliver locally. Banking Level, Sandton City. T. 011 783 0842. Art Unlimited Gallery ‘The Gift’, an ongoing exhibition by Louwtjie Kotzé. Baobab St, Sonneglans Ext 4, Randburg. T. 083 779 9021. Artist Proof Studio Art Education Centre that specializes in printmaking. Bus Factory, 3 President Street, Newtown Cultural Precinct. T. 011 492 1278 Lizamore & Assoc. (Previously Artspace Gallery) Fragment, Through this body of work, Olivier explores Truth as a whole and complete substance, broken into fragments to be discovered throughout life’s pilgrimage. Louis Olivier 5 Oct.-30 Oct, Chester Court, 142 Jan Smuts, Parkwood. T. 011 880 8802 The Bag Factory Includes 18 studios, workshops, and a gallery, where local and international artists work together. The Bag Factory also runs a diverse program of regular exhibitions, workshops, and community projects. 10 Mahlatini Str, Fordsburg. T. 011 834 9181. Upstairs at Bamboo Carol Lee Fine Art. ‘Vignette’. A group exhibition showcasing the talent of diverse and sought - after painters and sculptors like Diane McLean, Alet Swarts, Cobus Haupt, Cornelia Stoop , Stella Olivier, Bruce Backhouse, Kobus Walker and others. From 9 - 17 Nov. Bamboo Lifestyle Centre, 53 Rustenburg Road, Melville. C. 028 284 9827 Bonhams International Auctioneers Auctioneers of Fine Art, Antiques and Collectables, Penny Culverwell, Representative for South Africa. T. 071 342 2670.

Dog on a Leash Art & Gift Art gallery and coffee shop. Arts and crafts. 93 Main Str, Kokstad. C. 083 690 3437.

Christie’s International Auctioneers. Auctioneers of Fine Art, Antiques and Collectables, Gillian Scott Berning, Independent Consultant. T 031 207 8247.


CIRCA on Jellicoe Until 5 Oct, an exhibition by Norman Catherine. 2 Jellicoe Ave. T. 011 788 4805.


Cire Perdue Art Focused on the selection and distribution of limited edition works of art, specifically bronze sculptures. T. 011 465 8709.,T. 011 465 8709.

5h Ave Auctioneers Auctioneers of Fine Art, Antiques and Collectables, 404 Jan Smuts Avenue, Craighall Park. T. 011 781 2040. Absa Art Gallery 18 Oct.-19 Nov. The Absa L’Atelier Top 100 Awards exhibition will come to Cape Town for the first time. City Hall, Darling Stree, Grand Parade, Cape Town, Absa Towers North, 161 Main Str. T. 011 350 5139.

David Krut Projects Echo , A solo exhibition by Robin Penn. 3 Oct. -9 Nov. 142 Jan Smuts Avenue, Parkwood. T. 011 447 0627. Everard Read Jhb Until 31 Oct 2013 ‘Centenary Exhibition’. 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788 4805.



“Shade” monotype 50 x 65 cm

5th Annual Group Exhibition showcasing contemporary fine art prints and oil paintings 30 October – 2 November 2013

FOR PLAY.i Part 1 23 October 2013 Opening Exhibition 98A Park Drive, Central, Port Elizabeth

GALLERY GUIDE | GAUTENG | MPUMALANGA Ferreira Art Gallery Rob MacIntosh , Just arrived, new paintings from photorealism master, Rob MacIntosh. We specialize in old South African Masters on permanent display. Come relax in our Terrace Cafe while you wait for framing, 300 Main Rd, Bryanston, Sandton. T. 011 706 3738. Gallery 2 Bambo Sibiya Art Auction. Preview 12th,15th,16th Oct., Date of Auction: 16 Oct. 2013, time 18:30, Auctioneer: Anton Welz of Stephan Welz and co, 140 Jan Smuts Ave, Parkwood Jhb. Tel. 114470155, Gallery AOP 5 Oct.-26 Oct. Chloё Reid solo exhibition includes etchings, drawings and installations. 44 Stanley Ave, Braamfontein Werf (Milpark) Jhb. T. 011 726 2234. Gallery MOMO ‘Rethinking the Future’ includes paintings and a performance. The exhibition investigates broader perspectives between classical art, the art of today and the art of the future. Artist: Vitshois Mwilambwe Bondo, 52 7th Avenue, Parktown North. T. 011 327 3247. Goodman Gallery JHB Until 26 Oct. ‘Land Throws Up a Ghost’ new paintings by Clive van den Berg, 163 Jan Smuts Avenue, Parkwood. T. 011 788 1113. Graham’s Fine Art Gallery SA masters are on display: Artists include Irma Stern, J.H Pierneef, Gerard Sekoto, Maggie, Laubser, Gerard Sekoto and Walter Battiss., 68 on Hobart, Block A, Corner of Hobart & Dover Road (Off William Nicol Drive) Bryanston. T. 011 463 7869. 16 Halifax Art A visual art agency owned by Dana MacFarlane.16 Halifax Str, Bryanston. Dana: 082 784 6695. In Toto Gallery Reverie Reveald, Until 21st Oct. 2013 The joint exhibition by Ilana Seati and the House on Fire Studio: Ilana Seati, Jiggs Thorne, Shadrack Masuku and Noah Mdluli. 6 Birdhaven Centre, 66 St Andrew Str. T. 011 447 6543. Isis Gallery Range of paintings and stone sculpture by leading South African artists. Shop 334, Upper level, Rosebank Mall. T. 011 447 2317. Johannesburg Art Gallery Until 17 Nov, ‘Off the Beaten Path: Violence, Women and Art’, an exhibition curated Randy Jayne Rosenberg. Work by artists including Jane Alexander, Patricia Evans, Marina Abramović, Mona Hatoum, Yoko Ono and Susan Plum. King George Street, Joubert Park. T. 011 725 3130/80. Market Photo Workshop Gallery Until 11 Sept, ‘Ke Lefa Laka’, a solo show by Tierney Fellow Lebohang Kganye. 2 President Str, Newtown. T. 011 834 1444. Manor Gallery Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934 Protea Gallery Specialising in well-known South African Artists, as well as those up-and-coming. Also specialise in professional framing. 94b Rietfontein Road, Primrose. T. 011 8285035. Purple Heart Gallery ‘Where we colour outside the lines’. We are ‘Proudly

SA ART TIMES. October 2013

South African’ and are currently showcasing a variety of established, as well as new, SA Artists. Honeydew Village Centre, Cnr. Christiaan De Wet & John Vorster Avenue, Weltevreden Park, Roodepoort. Tel. 011 475 7411. Resolution Gallery Andy Robertson ‘Indigenous’ Oct & Nov. 2013, Unit 4, Chester Court, 142 Jan Smuts Avenue, Parkwood. T. 011 880 4054 Russell Kaplan Auctioneers Auctioneers of Fine Art, Antiques and Collectables. Ground floor, Bordeaux Court, Corner of Garden & Allan Rds, Bordeaux. T. 011 789 7422 C. 083 675 8468. Sarai Interior Design & Decor cc Shop 4 Fox Street Studios, Maboneng Precinct, Jeppestown. C. 082 062 9402 Standard Bank Gallery 18 Oct.- 7 Dec. ‘But Men Do Not See It’. Justin Fiske’s installations manufactured from wood, metal, string and pebbles, encourage viewers to interrogate the complexities of motion and the mechanics which make this visible. C/r of Simmonds & Frederick Str. T. 011 631 1889. Stephan Welz & Co Auctioneers of Fine Art, Antiques and Collectables, 13 Biermann Avenue, Rosebank, Johannesburg. T. 011 880 3125. Stephan Welz & Co Auctioneers of Fine Art, Antiques and Collectables, The Peacemakers Museum, shop L32, Nelson Mandela Square, Sandton.T. 079 545 2701. Stevenson 3 Oct - 8 Nov, Photographic series ‘Kin’, a solo exhibition by Pieter Hugo, 62 Juta Street,Braamfontein. Tel. (011) 403 1055/1908, Strauss & Co. Strauss Online South African & International Fine & Decorative Arts, and Books Exclusively Online Live Auction Featuring works by Henry Moore, Bernard Buffet, Maggie Laubser, JH Pierneef, Gregoire Boonzaier, Diederick During, Walter Battiss, Wopko Jensma, Cecil Skotnes, Lucky Sibiya, Robert Hodgins, Penny Siopis, Nontsikelelo Veleko and many more. 89 Central Str, Houghton. T. 011 728 8246 UJ Art Gallery 5 Oct. - 13 Nov. Greek Cultural Week, Cnr Kingsway and University Rd, Auckland Park, Jhb. T. 011 559 2099 White House Gallery Featuring a wide ranging portfolio of renowned masters such as Chagall, Marini, Miro, Moore , Stella, Picasso, Dine & Hockney - to name a few. Also works of up and coming artists in Britain and France, along with globally acclaimed SA artists., Shop G11 Thrupps Centre, Oxford Rd, Illovo. T. 011 268 2115

Pretoria Alette Wessels Kunskamer Operates as an art gallery and art consultancy, specialising in SA art as an investment, dealing in Old Masters, and selected contemporary art.Maroelana Centre, 27 Maroelana Str, Maroelana. T. 012 346 0728 Art in the Park Association promoting art works in watercolor, oil, pastel,

acrylics, batik, sculpture, pottery and photography, with regular member exhibitions. Exhibition dates for October are: 27 Oct.- 06 Oct. Magnolia Dell, Contact Hannes: 071 676 3600. Association of Arts Pretoria 4 Oct. - 19 Oct. Recent oil paintings by Willie van Rensberg. 173 Mackie Str, Nieuw Muckleneuk. T. 012 346 3100 Centurion Art Gallery A commercial satellite of the Pretoria Art Museum. c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477 Fried Contemporary Art Gallery Until the 19 Oct. ‘Sculptors@fried’ 1146 Justice Mahomed St, Brooklyn. Tel. 012 346 0158. Cell 082 523 6989 Front Room Art Floral works by Elaine Louw, Peace Petty, Minette van Rooyen and others. 116 Kate Ave Rietondale. T. 082 451 5584. Pretoria Art Museum Recognised as the longest running national art competition in SA, the Sasol New Signatures art competition offers an opportunity for artists to showcase their artwork and build their profile in the industry, Cnr Francis Baard (Schoeman) and Wessels Streets, Arcadia Park, Arcadia. T.0 12 344 1807. St. Lorient Fashion & Art Gallery Until 30 Oct, ‘Rooftop V: Juxtaposition’, Annual Rooftop exhibition, a group show of outdoor sculptures, curated by Gordon Froud.Surreal and Synthesis Exhibition Opens: 22 Sept. 2013, Closing date: 03 Nov. 2013. Artists exhibiting: Karin Miller, Thelma van Rensburg, Celia de Villiers, Hester Viles, Zuanda Bedenhorst, Debbie Morris, Tanisha Bhana, Jennifer Kopping, Ciara Struwig, Bongani Njalo and Kimberly Morrow.492 Fehrsen Str, Brooklyn Circle. T. 012 460 0284. Telkom Art Collection A collection featuring artworks by over 400 artists, some of them well established and some still up-and-coming. Telkom Towers North, ground floor, 152 Johannes Ramokhoase Str (formerly Proes Street), CBD Pretoria. Curator: Sophia van Wyk. T. 012 311 7260. UNISA Art Gallery 28 Sept - 8 Oct, ‘Evolution/Revolution 2’. An ecollogically insightful art show, part of a ground-breaking Pan-African initiative known as Africa Speaks. The exhibitor is African-American Professor Ben Jones, whose artworks accentuate a growing global 21st century insistence on broadening “green” awareness throughout planet earth. Kgorong Building, Ground Floor, Main Campus, Preller Str, Pretoria. T. 012 441 5876. University of Pretoria Permanent exhibit: Artefacts of the iron age site called Mapungubwe which has been declared a World Heritage Site. Mapungubwe Gallery, Old Arts Building, UP.T. 012 420 2968.

Mpumalanga Graskop Artistic Journey Art Gallery 24 – 27 Sept, Art Workshops: 10 Workshops to choose from, 4 days in a row. This is the first Getaway ArtWorkshop in Graskop. Bookings and information: Rina Burger : Panorama Rest Camp and Chalets. T. 082 600 3441. za


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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: Inge Semple

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

//A Vacant Passage\\ Paul Senyol & Andrzej Urbanski 21 SEPTEMBER – 12 OCTOBER 2013 SCAN WITH LAYAR

91 Kloof St, Gardens, Cape Town 021 424 6930 / 082 679 3906 /


White River

T. 031 3038133.

The Artists’ Press Professional collaboration, printing and publishing of original hand-printed artists lithographs, by the Artists’ Press. Also artists’ books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River. T. 013 751 3225.

Fat Tuesday Eclectic blend of paintings,phototgraphs and ceramics. 5 Bellevue Road, Kloof. T. 031 717 2785.

The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned. Casterbridge Complex Corner R40 & Numbi Rds, White River. T. 013 758 2409. White River Gallery Di Eudonna, An exploration of the spiritual within the figurative. Work by the late Bill Chalmers Sat 5 October 2013 Thursday 7 November 2013, Casterbridge Shopping Centre. T. 083 675 8833.

Northern Cape William Humphreys Art Gallery Cullinan Crescent, Civic Centre, Kimberley. T. 053 8311724/5.

KZ Natal Ballito Imbizo Gallery Shop 7, Ballito Lifestyle Centre. T. 032 946 1937.

Durban The African Art Centre Exhibits the work of both young and established black artists, working in contemporary and traditional styles. Printmaking, beadwork, woodwork, sculpture, textiles and ceramics. 94 Florida Road, Morningside, Durban. T. 031 312 3804/05. Artisan Gallery An eclectic collection of contemporary art, including fine art,prints, paintings, collage, sculptures,ceramics,jewellery, glassware, textiles,wood and Africloth giftcards. 344 Florida Road, Morningside. Tel. 031 312 4364. ArtSPACE Durban Lights, Camera,Fire’ 7 Oct.-26 Oct. Photographic exhibition. 3 Millar Rd (off Umgeni Rd). T. 031 312 0793. Christie’s International Auctioneers Fine art and antiques, Gillian Scott Berning, Independent Consultant.T 031 207 8247. The COLLECTIVE An art gallery that not only promotes the visual art spectrum, but music and poetry as well. 48b Florida Rd (entrance in Fourth Ave). T. 031 303 4891 Durban Art Gallery The exhibition opens on 2 October and will run until 19 October, 2nd Floor City Hall, Anton Lembede (Smith) Str. T. 031 311 2264 Elizabeth Gordon Gallery The gallery is well stocked with original works by eminent and emerging SA artists and hosts exhibitions of new works, on a regular basis.120 Florida Road, Morningside.

SA ART TIMES. October 2013

Gallery Umhlanga Contemporary African art. Shop 11, Umhlanga Centre, Ridge Road, Umhlanga. T. 031 561 2199 KZNSA Gallery Until 13 Oct. Photographic exhibition ‘The Legacy of the mine’ by Ilan Godfrey. 166 Bulwer Rd, Glenwood, Durban. T. 031 277 1705. Tamasa Gallery A broad variety of contemporary KZN artists. 36 Overport Drive, Berea. T. 031 207 1223.

Pietermaritzburg Blue Caterpillar Gallery Gallery exhibiting wide range of styles and mediums covering both established and up-and-coming artists from South Africa and beyond. 37 Willowton Rd. T. 033 387 1356. Tatham Art Gallery No Place Like Home, 3 Oct. to 1 Dec. :Solo exhibition by well-known KwaZulu-Natal artist Siyabonga Sikosana, who paints lively scenes from semi-rural areas around the KZN Midlands.Artist-in-residence from 8-11 Oct. Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall).T. 033 392 2801.

Newcastle Carnegie Art Gallery, Newcastle South African Landscapes, Permanent collection on view of artists’ impressions of the South African landscape. Well stocked gallery shop. Voortrekker Street, Newcastle. T. O34 328 7622.

Nottingham Road Aladdin’s Art and Ceramics Gallery 2 Robin Road, Nottingham Road, KZN. Tel. 033 266 6460.

Underberg The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in landscape photography & ceramics. Owned by photographer Lawrance Brennon and his potter wife, Catherine Brennon, the gallery is regularly updated with their latest work, 21 Ridge Rd, Underberg. Signage from R617.T. 033 701 2440.

North West Lichtenburg Jonel Scholtz Art Studio and Alice Art LTX Jonel Scholtz Print Exhibition and Oils on Canvas, The exhibition is ongoing and supports the local art scene as well as works by Jonel Scholtz. Corner of Church str and Bandjes str. T. 082 853 8621.

Potchefstroom North-West University Gallery 5 Oct – end Jan 2014, ‘A Void in the Landscape’, A group exhibition by artists Gordon Froud, Marco Cianfanelli, Pauline Gutter, Retha Buitendach, Rina Stutzer, Strijdom

van der Merwe & Wilma Cruise. Showing at Clos Malverne Wine Estate, Devon Valley Rd, Stellenbosch. North-West University (Potchefstroom Campus), Hoffman Street, Building E 7. T. 018 299 4341.

Hartbeespoort Dam Edwards Fine Art, Modern and Contemporary Featuring works by William Kentridge, Marlene Dumas, Robert Hodgins, Cecil Skotnes and Edoardo Villa. Sculpture by Anton Smit. Shop 24, Xanadu X-ing Shopping Centre, Cnr. Xanadu Boulevard & R511, Xanadu, Hartbeesport. T. 076 472 9812. C. 076 472 9812.

Western Cape Cape Town /A Word of Art Focus on art activism projects within communities in South Africa. 66 Albert Road, Woodstock Exchange. C. 083 300 9970. 34FineArt Outside II, An exhibition of artworks by leading artists including Banksy, Ben Eine, Invader, Bambi, Mr. Brainwash, Osch and Jimmy.C., Norman Catherine, Asha Zero, Jade Doreen Waller, Warren Petersen, Trust.iCON, Dotmasters, T.WAT and Robin Coleman. Second Floor, Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock T 021 461 1863. C. 072 536 7109. / Absolut Art Gallery 17 September to 9 November, Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville. T. 021 914 2846. Alex Hamilton Studio Gallery Painter whose work is heavily influenced by, and reflective of, pop culture, 3rd Floor, 9 Barron st, Woodstock. T. 021 447 2396. C. 084 409 6801, Allderman Gallery Prints by Pippa Pennington, Prints of Durban artist Pippa Lea Pennington. Beautiful trees, plants, aloes. Newlands Quarter, Dean Street, Newlands. T. 083 556 2540 Art.b Prestige Academy, Prestige Academy Photography student exhibition. Library Centre, Carel van Aswegen St, Bellville. T. 021 917 1197. ArtMark Mixed media, An exciting mix of watercolour on paper by Pam Quinlan and black and white Mandela portrait’s, oil on canvas by Marc Alexander. 20th Sept to 30th Oct, Imhoff Farm, Kommetjie Road. C. 082 303 6798. Artvark Gallery South Africa’s finest Maties art talent, A group exhibition of 10 artists showcasing a variety of mediums. Funds of selected artworks by the featured Matie artists will be donated to the Stellenbosch University Bursary Fund. Exhibition on show from 26 Oct - 25 Nov, 48 Main Road, Kalk Bay, Cape Town. T. 021 788 5584. Ashbey’s Galleries Antiques and fine art auctioneers and appraisers. 43-51 Church Str, CT. T. 021 423 8060.


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

Birdtower at Mowe Bay -Alice Elahi 1993 Oil on canvas Alice Elah: Way Out of the Poort, Hoarusib Canyon 1986

‘One of the most accomplished and subtle landscapists in the book of South African art’ - Johan van Rooyen

GALLERY GUIDE | WESTERN CAPE / CAPE TOWN Barnard Gallery 5 Sept - 17 Oct, ‘Fumbling Towards Ecstasy’, a solo exhibition by Tracy Payne, 55 Main street Newlands 7700. T. 021 671 1553.

ess virtually unchanged for 5000 years. Bronze pouring can be viewed every Tues, Wed and Thurs at 11 am. Please call us to confirm time. West Quay Road, V&A Waterfront. T. 021 418 0003.

Blank Projects An independent, artist-run exhibition space, 113-115 Sir Lowry Road, Woodstock. T. 021 462 4276.

EBONY Cape Town Midpoint, The Midpoint of Limitlessness invites us to experience the limits of conceptuality, especially in interpretation, and the awarenesses beyond those limits. A focus on consciousness development through drawing and sculpture as a meditative and contemplative practice. 3 October - 6 November, 67 Loop Steet, Cape Town, CBD. T. 021 424 9985.

Bronze Age A multifunctional art foundry specialising in casting of bronze sculpture, as well as undertaking sculpture, interior and architectural commission work. Woodstock Foundry, 160 Albert Rd, Woodstock. T. 021 447 3914 BRUNDYN + GONSALVES paint: Experimental Ventures into Expanded Painting, Brundyn + Gonsalves present a group painting exhibition. Artists include Sanell Aggenbach, Tom Cullberg, Gina Heyer, Matthew Hindley, Nomthunzi Mashalaba, Sepideh Mehraban, Lauren Palte, Matty Roodt, Chad Rossouw, Zolani Siphungela, Chris van Eeden 25 September - 14 October, 71 Loop Str, CT. T. 021 424 5150. Carmel Art Dealers in fine art, exclusive distributers of Pieter van der Westhuizen etchings.Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 Casa Labia Gallery Light Found, A solo exhibition of paintings and drawings by Jenny Parsons exploring the early morning light on the fynbos covered hillsides of the Cape. Jenny Parsons closing - 13 October, 192 Main Rd, Muizenberg. T. 021 788 6068. Christie’s International Auctioneers. Juliet Lomberg, Independent Consultant. T. 021 761 2676. Christopher Møller Art 8 Oct-29 Oct Jaco Roux’s upcoming solo exhibition, 7 Kloofnek Rd, Gardens, C T. T. 021 422 1599. Clementina Ceramics Showcase of contemporary South African ceramics, featuring one-off works by Clementina van der Walt, and complemented by designer crafts. Shop c 101/b, The Old Biscuit Mill, 375 Albert Road, Woodstock. T. 021 447 1398. Commune.1 Gallery Fissure, 17 Oct.- 21 Nov. 2013 A group exhibition featuring a selection of artists occupied with translating the boundless and chaotic natural world into corporeal art objects. 64 Wale Street, Cape Town, 8001. T. 021 423 5600, Culture – Urban + Contemporary Gallery Aims to introduce international and local South African artists working in an urban contemporary idiom. First Floor, Woodstock Exchange, 66 Albert Rd, Woodstock. T. 021 447 3533 David Krut Projects Cape Town Recollection: Works on Paper, Recollection is a solo exhibition showcasing the printed work by Senzo Shabangu over the last 3 years. It will run from the 12 Sept.- 2 Nov. 2013, Montebello Design Centre, 31 Newlands Avenue, Newlands, CT. T. 021 685 0676. Donald Greig Gallery & Foundry Private Gallery permanently exhibiting artworks of Donald Greig. Foundry is open to the public to observe the timehonoured cire purdue (lost wax) casting technique - a proc-

SA ART TIMES. October 2013

Eclectica Art & Antiques Purveyor of fine arts, antiques and objects d’art. Emphasis on finding beautiful, interesting pieces both locally and internationally. 11A Wolfe Str, Chelsea Village, Wynberg. T. 021 762 7983. Everard Read, Cape Town Peninsula, Nic Bladen is known for his extraordinary botanical sculptures in bronze. In Peninsula, Bladen focuses on the diversity surrounding his Cape studio. 23 Oct.- 4 Nov. 3 Portswood Rd, V&A Waterfront. T. 021 418 4527. G2 Art Permanent gallery, situated in the City Centre. G2 Art offers diverse affordable painting, sculpture and photography by artists Candice Dawn, Roelie van Heerden and many others. Open from 10am till 4.30pm, 61 Shortmarket St, between Loop St & Bree St. T. 021 424 7169.

Queen Victoria Str, CT. T. 021 467 4660. Johans Borman Fine Art Currently showing a selection of works by SA Masters including Francois Krige, Cecil Skotnes, George Pemba and Hugo Naude, as well as works by contemporary artists such as Walter Meyer, Philip Barlow, Ben Coutouvidis & Jacobus Kloppers. 16 Kildare Road, Newlands. T. 021 683 6863. Kalk Bay Modern Contemporary art gallery and craft shop, focused on showcasing eclectic selection of emerging talent. 1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 Kalk Bay Sculpture Studio Fine art bronze foundry offering a sculpture and casting service for artists as well as commissions for corporate and private collectors. We have four in-house sculptors producing their own work and overseeing the daily operation. 11 Windsor Rd, Kalk Bay. T. 021 788 8736. C. 073 180 7209. Lindy van Niekerk Art Gallery A selection of artworks by new and prominent SA artists and SA old Masters. 31 Kommandeur Rd, Welgemoed, Bellville. T. 021 913 7204/5 Lutge Gallery For the table, Exhibition of ceramics by Clementina van der Walt,Lisa Ringwood and Christo Giles Opens Thursday 3rd Oct Closes Saturday 26th oct, 109 Loop St, Cape Town. T. 021 424 8448.

Ghuba Gallery Ongoing collection of new works and contemporary African art. 73 Victoria Ave, Hout Bay. T. 021 790 0772.

Michaelis Galleries 5 Oct- 2 Nov. Bridget Simons at UCT Irma Stern museum. Cecil Road Rosebank, University of Cape Town, 31 – 37 Orange St, CT. T. 021 480 7170

Goodman Gallery Cape Town Until 26 Oct an exhibition of new paintings by Clive van den Berg, 3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. Tel. 021 462 7567.

MM Galleries Offers a platform to showcase the wealth of talentend artists whose works are affordable and are of high quality. Shop 3, 31 Palmer Road, Muizenberg, Cape Town. T. 082 739 7567.

Heather Auer Art and Sculpture Original paintings, sculptures and ceramics by Heather Auer and other SA artists. Quayside Ctr, Wharf Str, Simonstown. T. 021 786 1309. Hout Bay Gallery Specialises in the work of South African artists. Artworks include paintings, sculptures and furniture, 71 Victoria Avenue, Hout Bay. T. 021 790 3618. Infin Art Gallery A gallery of work by local artists.2 branches: Wolfe Str, Chelsea Village, Wynberg. T. 021 761 2816 & Buitengracht Str, CT. T. 021 423 2090. Irma Stern Museum An Irreal Realm - Painting as a means of reflecting on oneirism, Exhibition of paintings in ink and oil by Bridget Simons Opening: 5 Oct. 2013 Closing: 2 Nov. 2013, Cecil Rd, Rosebank, CT. T. 021 685 5686. Iziko Michaelis Collection Ongoing: Dutch works from the 17th–20th centuries in Iziko collections, Iziko Michaelis Collection, Old Town House, Greenmarket Square. T. 021 4813800. Iziko SA National Gallery Against the Grain: Sculptors from the Cape , Against the Grain: Sculptors from the Cape showcases the works of five local wood sculptors. The exhibition addresses a diversity of themes that engage with the recent and distant past, as well as the contemporary present. Curated by ASAI founder, Mario Pissarra and runs until the 15 Nov. 2013, 25

Mogalakwena Gallery Exhibitions with a cultural foucus. 3 Church Street, between Adderly St and St-George’s Mall, CT. T. 021 424 74 88. C. 083 460 6460. Provenance Auction House Auctioneers of Fine Art, Antiques and Home Luxury. 8 Vrede str, Gardens, CT. T. 021 461 8009 Quincy’s Antiques Art and Collectables Shop 8, Riverside Mall, Main Rd, Rondebosch. T. 021 685 1986 Red! The Gallery A dynamic art gallery featuring work from SA’s best contemporary and emerging artists. Including works by Andrew Cooper, David Kuijers, Derris van Rensburg, Wakaba Mutheki and Michael Waters, to name a few. Shop G9 & 10 Steenberg Village Shopping Centre, Reddam Avenue, Tokai. T. 021 701 0886. Rose Korber Art Selected prints by William Kentridge,as well as recent works by Richard Smith, Robert Slingsby, Pamela Stretton, Claudette Schreuders, Paul Blomkamp and Georgia Lane. Opening date: 20 September Closing date: 31 October 48 Sedgemoor Rd, Camps Bay. T. 021 438 9152. C. 083 261 1173.


GALLERY GUIDE | WESTERN CAPE Village Art Gallery Ongoing exhibition with work by artists Mariaan Kotze, Glendine, Diane McLean, Neels Coetzee, Duggie du Toit, Ann Gadd, Karien Boonzaaier, Bill Strapp, Estelle Marais, Kevin Standly, Ella, Marianne Vorster and Lana van Blerk, amongst others. 29 Schoeman Str, De Rust, T. 044 241 2014.

Clanwilliam Kunshuis Works of art by top artists from South Africa 14 Main Rd, Clanwilliam. T. 027 482 1940.

Franschhoek Art in the Yard Exhibiting works from both local and international artists with a number of themes and different media. The Yard, 38 Huguenot Street, Franschhoek. T. 021 876 4280. EBONY Group Show, New work by Greg Lourens, Henk Serfontein, Krisjan Rossouw & Richard Smith. Also on show works by Hugo Naude, Caroline Gibello, Gerard Sekoto, Olaf Bisschoff, Shany van den Berg, Landi Raubenheimer and a small selection of prints by Deborah Bell and William Kentridge (in collaboration with David Krut Projects). 4 Franschhoek Square, 32 Huguenot Street. T. 021 876 4477 Is Art 5 Oct. Revisiting the ‘Art in clay’ VOC Exhibition, Le Quartier Français, 16 Huguenot Str, Franschhoek. T. 021 876 8443 The Gallery at Grande Provence Has a reputation for showcasing some of South Africa’s finest established and emerging artists., Main Rd, Franschhoek. T. 021 876 8630.

George Cape Palette Art Gallery Paintings by Doris Brand. Open 31 Oct.Engen Centre, CJ Langenhoven Str, Heatherlands. T. 044 873 6581 Crouse Art Gallery Original paintings by well known South African Artists: Anton Benzon, Carla Bosch, Maria, Gerrit Roon, Makiwa, Danielle Novella & many more. We deal exclusively in original SA Art, specifically investment art. , Shop no 83, Garden Route Mall, George / 368 Ontdekkers rd Flrorida Park, Roodepoort, Jhb. T. 044 887 0361 / 011 672 3821. Strydom Gallery 04 Oct.- 19 Oct. Landscapes. Portraits. Electronic exhibitions. 79 Market Str, George. T. 044 874 4027.

Greyton Adele Claudia Fouche Ongoing exhibition. The artist exhibits her works which are mainly concerned with light. Adele also offers workshops and retreats in this beautiful setting. T. 082 522 4010.

Mossel Bay Artbeat Gallery Kastrol Straat Pottery , The Gallery boasts its own range of pottery and sculpture, by Alex Potter. These will be for sale


from the Gallery and will be made available to various other outlets. 35 Gys Smalberger Street, Mossel Bay CBD. Tel. 081 356 5295. Art@39Long Quaint gallery, set in a delightful garden. Carefully selected art, complemented by beautiful ceramics and designer craft to be enjoyed in a warm and friendly village on the Garden Route. 39 Longstreet, Great Brakriver. C. 082 576 3338.

Hermanus Abalone Gallery African Mystique (Annex), Lynette ten Krooden, 2 Harbour Road (The Courtyard) ) Hermanus. Tel. 028 313 2935. Art Amble Hermanus Village 21 Sept.- 20 Oct. Terry Kobus: C. 083 259 8869.

The Knysna Art Gallery An exhibition of sculpture by Lionel Smit & mixed media works by Sandra Hanekom., Old Gaol Complex, cnr of Main and Queen Street. T. 044 382 7124

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

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


Originals Gallery The artist will open her exhibition with a visual presentation of her research work and her artistic career of thirty years, Shop 22 Royal Centre, 141 Main Rd. Tel. 083 259 8869.

Edna Fourie Gallery Ongoing exhibition which includes a permanent collection as well as works for sale - all by the artist Edna Fourie, Main Rd, Mcgregor C.083 302 5538

Rossouw Modern Art Gallery Hermanus Fine artworks from South African artists. 3 Harbour Rd, Hermanus. T. 028 313 2222.


Village Art Gallery The gallery was established in 2006 by artist and owner Brian Robertson, who exhibits work in both oil and watercolour. Hemel en Aarde Village. T. 028 316 3355. Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up-and-coming SA artists. 171 Main Rd. 028 312 2928. Willie Botha Sculpture Gallery Permanent exhibition of work by sculptor Willie Botha. Paintings by Pieter Vermaak and Johan Calitz. 171 Main Rd. T. 028 313 2304.

Knysna Dale Elliott Art Galleries Leaders of the painting course concept in South Africa. Shop 11, Knysna Mall Shopping Centre, Main Rd. T. 044 382 5646 A Different Drummer A collection of works by South African Masters. Thesen House, 6 Long Street, Knysna. T. 044 382 5107. Knysna Fine Art An exhibition of sculpture by Lionel Smit & mixed media works by Sandra Hanekom, Thesen House, 6 Long Str, Knysna. T. 044 382 5107. Lynn Schaefer Gallery Artworks and ceramics by SA artists including Derric van Rensburg, Ann Nosworthy, Darryl Legg and Lynn Schaefer. Thesen House, 6 Long Street. C. 072 174 4907. Sally Bekker Art Studio Exhibition In mixed media, oils, watercolours and pastel. Woodmill Lane. T. 082 342 3953.

ArtKaroo Gallery Representing the art of the Klein Karoo 107 Baron van Reede, Oudtshoorn. T. 044 279 1093. Rosenhof Art Gallery Artworks from well-reputed South African artists., Baron van Reede Str. C. 082 7696 993/044 2722232. /

Paarl Hout Street Gallery Specialising in paintings and fine art by more than thirty SA artists. 270 Main Str, Paarl. T. 021 872 5030.

Piketberg The Art Business Contemporary Gallery and Art Consultancy Specialising in: painting, drawing, printmaking, photography, ceramics, sculptures end limited edition Artists’ books by South African artists. 17 Main Str, Piketberg. C. 083 739 6196.

Plettenberg Bay Lookout Art Gallery Featuring a wide variety of both new and well-loved artists, including Fiona Rowett, Jocelyn Boyley, Sue Kemp and Gail Darroll, amongst others. Main Str, Plettenberg Bay. T. 044 533 2210. Old Nick Village Old Nick Village comprises a varied selection of individual shops and galleries showcasing some of the best of South African creative manufacturers and fine artists, Easy access from the N2 highway, 3km east of Plett. T. 044 533 1395.

Port Owen The West Coast Art Gallery Showcase of leading West Coast artists. , Shop 2 Harbour Centre, Port Owen, Velddrif. T. 082 460 6650.

SA ART TIMES. October 2013


Prince Albert Prince Albert Gallery Established in 2003, the gallery always has an eclectic mix of art on display. 57 Church Str, Prince Albert. T. 023 541 1057.

Riebeek Kasteel Deziree Fine Arts Co-Existence’ Small sketches and paintings of endemic Fynbos and Insects. Sanlam Hall, Kirstenbosch Gardens. 14 Oct.- 31 Oct. T. 021 785 1120. The Gallery - Riebeek Kasteel Variety of local art from the Riebeek-Valley. Artists include Solly Smook, Andre van Vuuren, Estelle Kenyon and Pat van der Merwe. Main Street, Riebeek Kasteel. C. 083 653 3697.

Robertson The Robertson Art Gallery We specialise in original art of more than 60 top South African Artists. 3 Voortrekker Rd. T. 023 626 5364. C. 082 921 2697

Somerset West Gallery 91 Fine art and gifts. Collection incorporates scultpure,cera mics,functional art, paintings, etchings and photography. 91 Andries Pretorius Str. T. 021 852 6700. Liebrecht Art Gallery Fine Art Gallery. 34 OudehuisStr, Somerset West. T. 021 852 8030. Wallace Hulley Gallery Hulley specialises in Portraiture in watercolours. , 27 Silverboomkloof Rd. C. 083 268 4356.

Stellenbosch Art at Tokara Crest of the Helshoogte Pass, Stellenbosch. T.021 808 5900

Art on 5 A studio gallery run by 2 artists, Maryna de Witt and Emzi Smit, exhibiting their work. Subject matter ranges from local landscaped and town scenes to ethnic figures and portraits. Also show ceramics and sculptures. , 7b Andrings St. T. 021 887 7234. C. 072 249 3312. D-Street Gallery The Morality Monkeys , Opening: 12 Oct. 2013 Time:11:00am. Exhibition runs till:24 Nov. 2013 Robert Hamblin; Chris Diedericks; Adriaan Diedericks; Barry Barichievy; Brahm van Zyl; Corlie de Kock; Grace Kotze; Mathew Brittan; Steven Rosin; Judy Woodbourne; Olaf Bisschoff; Michele Rolstone; Marie Stander; Clare Menck; Peter van Straten; David Brits; Shany van den Berg; Elizabeth Gunter; Hannalie Taute; Aidon Westcott(curator); Susan Opperman, Larita Engelbrecht, Bowen Boshier, Jaco Sieberhagen and Vulindela Nyoni. 112 Dorp Str. T. 021 883 2337. Oude Libertas Gallery Until 23 Oct. ‘Handsisters’ mixed media exhibition. Margy Malan; Elizabeth Vels; Barbara L’Ange; Coral Hofmeyr and Cathy Stanley. Cnr of Adam Tas & Oude Libertas Str. T. 021 809 7463. Rupert Museum Showcasing the unique private art collection of Anton and Huberte Rupert. Stellentia Ave. T. 021 888 3344. Sasol Art Museum Permanent collection of paintings, graphic works and sculptures, as well as an anthropological collection. Regular temporary art exhibitions of national and international artists 52 Ryneveld Str, Stellenbosch. T. 021 808 3691. Slee Gallery Anamnese, In Anamnese, Roelie van Heerden presents visual memories of his travels in Africa, with specific recollection of the patterns and textures of the places he visited. Opening Thursday-evening, 31 October 2013 @ 18:30 until Wednesday, 6 November 2013. 101 Dorp Street. T. 021 887 3385 SMAC Art Gallery 17 Oct.- 23 Oct. ‘Back to the Future’ Abstract art in South Africa past and present. 1st Floor, De Wet Centre, Church Str. T. 021 887 3607.

Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists. 34 Ryneveld Str. T. 021 887 8343. US Art Gallery Closed for renovation until 31 October. C/o Dorp & Bird str, Stellenbosch. T. 021 828 3489.

Swellendam Kunstehuijs Fine Art Gallery Representing a variety of established and up-and-coming South African artists. 19 Swellengrebel Str, Swellendam. T. 028 5142905. Die Steg Art Galery Swellendam and Beyond: with Marnitz Steyn and guest artist, sculptor Neil Jonker, 25 Oct. until 9 Nov. Solo exhibition of new paintings by resident artist Marnitz Steyn. Also co-exhibiting with bronze sculptures is Niel Jonker of ardskeerdersbos. 1 Voortrek Str, Swellendam. 028 514 2521.

Villiersdorp Dale Elliott Art Gallery Gallery, Framing and a teaching studio for Art Courses. 80 Main Rd, Villiersdorp.T. 028 840 2927.

Wilderness Beatrix Bosch Studio Unique works in leather, paintings & photography can be viewed at her studio. 57 Die Duin, Wilderness. T. 044 877 0585. Pharoah Art Gallery ‘Faces’ by Peter Pharoah, Peter Pharoah will be exhibiting his new series of beautiful and thought provoking portraits. The series of ‘Faces’ embodies the merging of the old with the new.. both in terms of style and Peter’s bold and striking use of colour, using his textures and technique to tell the story behind the modern woman and her place in today’s society., Wilderness Centre, George Road. T. 044 877 0265.

New Print Studio in Durban Sharon McClelland, founder and facilitator of The Printing Press - Durban, opened her studio officially to the public in November 2012. ‘I studied for seven years under the tutelage of Vulindlela Nyoni at the University of KwaZulu Natal’s printmaking department in Pietermaritzburg.’ Her studio offers ongoing weekly workshops in a range of printmaking techniques. These include etching (intaglio), Lino and reduction lino, Embossing and Collograph and Monotype and Viscosty Monotype printing. ‘With the recent acquisition of a Lithography press, students can look forward to courses in Lithography in the near future.’ The studio is situated at the artSPACE gallery in Millar road in Durban. SA ART TIMES. October 2013




South African sculptor Dylan Lewis lives on a farm in the Cape Winelands, and works from a studio in Simon’s Town, a seaside village near Cape Town. This creative space is filled with works in progress, visual reference boards for his projects, natural artefacts such as animal skulls, gnarled branches and driftwood, and a quiver of surfboards for his afternoon surfing sessions at Cape Point, a wild stretch of nature reserve at the south-western tip of Africa. Widely recognised as one of the world’s foremost sculptors of the animal form, Lewis initially focused on the big cats as symbols of wilderness; in recent years, he has used the human figure to explore the Jungian notion of the ‘wilderness within’. Continuing the theme of his acclaimed UNTAMED exhibition in Cape Town (2010-2012), these works explore two distinct narratives: the forgotten inner wild spaces of the human psyche, and the impact of this amnesia on the remaining wilderness areas of the planet. Dylan, you grew up in an artistic family in Cape Town. Did your childhood pave the way for a career as a sculptor? DL: I spent a great deal of time drawing and sketching as a child. My father was a sculptor, and both my mother and grandmother painted. I particularly remember my grandmother’s studio at her home in the small Western Cape coastal town of Hermanus, where I used to spend summer holidays with my brother and sister. Her house was suffused with the scents of whisky, turpentine and the sea, and its walls were covered with vibrant Fauvist paintings of human figures. As a family, we often spent school holidays visiting the game reserves of Southern Africa, and although we lived in an urban environment in Cape Town, we were on the fringes of the city, next to mountains, so I could quickly escape into wilderness. As a child, I was passionate about collecting bones, rocks and animal skulls;these natural objects, gathered during my frequent excursions into wild places and kept in my bedroom, held deep meaning for me. If you look around my studio today, you will see that nothing much has changed. What lies behind the strong ‘wild’ theme in your work? You often link environmentalism and our internal human struggles with our wild sides. DL: For most of my life, I’ve sought refuge in nature on a regular basis: this connection with ‘wildness’ leaves me feeling grounded and reconnected with my authentic, timeless inner self. I’ve always been intrigued as to why this is so: am I returning to an ancient, familiar place held in genetic memory? If so, what would happen to me if I could no longer access this place due to urban expansion and the inevitable destruction of natural habitat this brings? Today, our lifestyles are often no longer meaningfully connected to the natural environment; socially we’ve moved away from a tribal life with rituals and rites of passage closely connected to the rhythms and cycles of nature. Consequently, many urban dwellers may feel profoundly disorientated and disconnected. In this state, it’s easy to make choices that inadvertently destroy the things to which we are no longer connected. While quality of life for many has improved immeasurably in the past century, over half of the earth’s natural wetlands have disappeared, along with large tracts of major ecosystems such as coral reefs and rain forests. At times I feel my work may just be a requiem to honour this profound loss. Alongside the significance of the external wilderness, I’m interested in our inner wild spaces. As the father of five, I know young children are animal-like, living in the moment and expressing their every emotion without reserve. Most six-year-olds are talented artists! As we grow older, we’re required to censor this wild inner life in order to function in social groups. This vital process comes with a risk: we may end up fencing out so much of our innate wildness that we lose touch with our authentic inner life, and instead live according to the ideals of others or society in general. Those who know or collect your cat figures might wonder what made you shift to the human figure as a subject. DL: Over the years, I’ve become less interested in the literal portrayal of the big cats that inhabit wilderness – the lion, leopard and cheetah – and increasingly interested in the emotional and symbolic impact wilderness has on me. As I started to engage with this theme in my sculpture, the cat form became limiting; I found it easier to explore complex psychological states through the medium of the human body, where the slightest change in a gesture can convey an entire range of emotions. Although the cat is no longer a primary focus in my work, I still return to it as a subject from time to time. Some of your human forms incorporate aspects of animal anatomy. What do these body parts symbolise? DL: These wings, claws, hooves and horns represent both our ancient genetic connection to the natural world and the wild parts of the human psyche. Many of the earliest works of art explored this theme, soI’m essentially reworking a very ancient story to express my personal experiences and points of view in the context of a modern urban life.


What’s the meaning behind the animal masks worn by some of your figures? DL: The wearing of a mask signals a changing or concealing of identity. In a poetic ritual, mask-wearing figures confront wild aspects of the psyche, as symbolised by particular animals. The skull’s association with death is relevant here: if individuals are unable to bring these wild, free, authentic parts into their conscious lives, they run the risk of dying in a psychological sense. Seen more literally, the animal skull represents the modern human’s often conflicted relationship with the natural world. You choose to portray your human figures as nude. Why? DL: I generally prefer to express emotion in my sculpture through the gestures of the body as opposed to the face, so the nude allows me the entire surface of the human form to articulate this, through gesture and muscular tension. Also, to me, the naked human form represents our original ‘wild’ state, which ties in with the theme of our relationship to wilderness. Some are depicted in contorted poses, suggesting torment. Is this intentional? DL: If there is torment, I see it as a vital struggle to balance opposite energies. For example, there’s a natural force within me which seeks to modify my behaviour in order to gain the acceptance and support of the group on which I depend for survival. And there’s an opposing force that seeks to give uncensored expression to my authentic voice, a voice which is sometimes at odds with the needs of the group. A similar tension of opposites manifests in my external world, between the incredible benefits of a modern lifestyle, and the destruction such a lifestyle has inadvertently wreaked on the natural world. To me, an ability to live with acceptance of the poignant paradoxes of the human story seems to be necessary for some degree of peace in this strange world You deliberately seem to emphasise musculature, particularly in your male figures. DL: The powerful musculature isn’t intended to reference superheroes or fascist images of strength and domination in which the battle is directed outwards, towards others; in these figures, the battle is directed inwards, and the physical strength alludes to wild animal energy. Talk us through the process of making a sculpture. DL: I first create an armature, or rigid internal support, from steel. It’s usually shaped like a rudimentary skeleton, fixed in the shape of the sculpture I want to create. I then start building up the image in clay or plaster, beginning with the muscle and bone structure and working out towards the surface. This is the process of modelling, as opposed to carving, where a sculptor works a block of solid material like stone or wood from the outside in towards the final sculpture. I prefer modelling in clay as its fluidity and immediacy allow me to capture fleeting emotional states that I find hard to access in my conscious life. Clay is my voice. Once complete, each clay form is cast into bronze using the lost wax technique: molten metal is poured into a mould that has been created by means of a wax model. The handprints and fingerprints on the surfaces of many of your works have almost become your trademark. Do they serve a particular purpose? DL: These markings come from the initial modelling process, during which I create a sculpture from soft clay before moulding and casting it into a more durable medium such as bronze. I consciously choose to leave behind these earlier traces of the sculpting process in order to enhance the textural and visual vibrancy of the surface, and to convey a quality of immediacy. I often notice people pushing their own fingers into these imprints, perhaps as a way of connecting with a creative moment that has been frozen in time. In a conceptual sense, the markings may reference the handprints made on cave walls by early man as a means of recording human identity. After leaving school, you failed the first year of a fine art course, then worked at a nature reserve and studied conservation. How did your career as an artist get going again? DL: At age 25, faced with the choice of continuing a career in the natural sciences or reengaging with art, I finally decided to take a series of part-time painting classes at the Ruth Prowse School of Art in Cape Town, and began my formal artistic career as a painter in 1990. My subject matter at the time included the human figure, animals and landscapes. I worked in watercolour or oils after the manner of the French Impressionists, ‘en plein air’ or directly from nature, setting up my canvas outdoors. I was particularly fascinated by the way natural forms and landscapes were thrown into relief by the stark African light. Over time, I began using thicker paint, which brought a three-dimensional quality to my work. This early start in painting has had a strong influence on the surface textures of my sculptures. Finally, what made you switch to sculpture? DL: Although my father was a sculptor, I initially had no desire to follow in his footsteps. But my creative path changed dramatically after his tragic death at the age of 46. In the weeks after the event, while clearing out his studio, I started to explore sculpture, and within a couple of years it had become my primary medium. My father’s interest in the natural world, expressed through sculptures of the bird form, was an important influence, especially in my early work, in which bird forms dominated. Although I worked in a very different technique to my father, his successful career as an artist gave me the confidence to forge ahead. UNTAMED : SCULPTURE FROM THE UNTAMED SERIES By Dylan Lewis Private Sale : 17 Septem ber tO 20 December 2013 The Private Sales Advantage : Private Sales have been an integral part of the Christie’s offering since 1766. Today, Christie’s Private Sales continues to provide our global clients unparalleled service to meet their diverse and growing collecting needs. Our specialists work oneon- one with clients to provide a focused, tailored experience when building a collection or selling a work of art or jewel within the timeframe desired, outside the traditional auction calendar. Christie’s Private Sales for Dylan Lewis contact Nic McElhatton Tel. +44 (0)20 7752 3290 http://www.christiesprivatesales.comBerkeley Sqaure

SA ART TIMES. October 2013

WESTERN CAPE | GALLERY GUIDE Rosendal Art & Framing Fine art, community craft and affordable picture framing. 23 Oxford Str, Durbanville. T. 021 976 8232.

The Art Connection An online gallery curated by Priscilla Schoonbee, offering top class artwork by established and up-and-coming artists, C. 082 463 6307

The Pot Luck Club Gallery Both eatery and art gallery. Contact curator Las Madurasinghe on 074 180 4895, The Old Biscuit Mill, 375 Albert Rd, Woodstock.

Rudd’s Auctioneers Antique, Fine and Decorative Art. 87 Bree Str, CT. T.021 426 0384. C. 083 406 4261.

The Art Connection An online gallery curated by Priscilla Schoonbee, offering top class artwork by established and up-and-coming artists, C. 082 463 6307

The Studio Kalk Bay Art Event showing a group collection entitled Hoodoo Heartland.Opening 3 October. Closing 16 October Coral Spencer Solo exhibition.Opening 17 October Closing 30 October. The Studio, The Majestic Village, 122 Main road, Kalk Bay. T. 083 778 2737

Rust-en-Vrede Gallery Susan Grundlingh, Shui-Lyn White & Johann Badenhorst, Three solo exhibitions open simultaneously on 15 Oct. at 19:00. The exhibitions run until 07 Nov. 2013, 10 Wellington Rd, Durbanville. T.021 976 4691. Sally Louw Gallery Ceramics: Decorative bowls, platters and vessels. 77 Roodebloem Rd, Woodstock, Cape Town. T.072 713 8907 Salon 91 A vacant passage , Paul Senyol & Andrzej Urbanski 21 September - 12 October. The Witching Hour, Jade Klara & Candice Jezek: Opening: 16 18h30 Exhibition runs 16 Oct. - 9 Nov, 91 Kloof Street, Gardens. T. 021 424 6930. Sanlam Art Gallery The collection provides a representative overview of South African art dating from the late nineteenth century to the present. 2 Strand Rd, Bellville. T. 021 947 3359. SMAC Art Gallery, CT 17 Oct.- 23 Oct. ‘Back to the Future’ Abstract Art in South Africa past and present. In-Fin-Art Building, Buitengracht Str. T. 021 422 5100. Sophea Gallery & Tibetan Teahouse Various forms of fine art including photography, glasswork and digital art, 2 Harrington Rd, Seaforth, Simonstown. T. 021 786 1544 South African Print Gallery The gallery showcases South African printmaking, with an emphasis on quality, good and unusual prints. 109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851. StateoftheART Gallery Our brick-and-mortar gallery offers art lovers the opportunity to physically experience a dynamic selection of works by StateoftheART artists. New works by Andy Neuro, Sue Kaplan, Michaela Rinaldi and Roscoe Reid Masters currently on show. 61 Shortmarket Str (between Loop & Bree).T. 021 801 4710. Stephan Welz & Co. Cape Town A Lecture on Anglo Boer War Memorabilia by Robin Woodruff, Tuesday 8 October, 18h30. The Great Cellar, Alphen Estate, Alphen Drive, Constantia. T. 021 794 6461. www. Stevenson Cape Town until 12 Oct.Deborah Poynton and Peter Clarke. Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT.T. 021 462 1500. Strauss & Co Important South African Art & Furniture, Decorative Arts & Jewellery, including The Dr Johan Bolt Cape Collection, Auction: Monday 21 Oct. 2013 at 10am, 1.30pm, 3.30pm, 5.30pm, 8pm Preview Friday 18 to Sunday 20 October 10am to 5pm Walkabouts:Conducted by Stephan Welz and Emma Bedford, Saturday 19 and Sunday 20 October at 11am,The Oval, First Floor, Colinton House, 1 Oakdale Road, Newlands. T. 021 683 6560.

SA ART TIMES. October 2013

The AVA Gallery Until 18 Oct. 3 Solo exhibitions ‘Once there was and once there was not’ by Elize Vossgatter’, ‘Selfshots’ by Hentie van der Merwe and ‘Roadscapes’ by Lara Feldman. 35 Church Street, CBD. T. 021 424 7436. The Avital Lang Gallery Currently displaying the work - including paintings, sculpture and ceramics of local artists. Two Oceans House, Surrey Place, Mouille Point. (Next to Newport Deli) T. 021 439 2124. The Cape Gallery Observations of life, Participating artists: Penny Howsen, Runette Louw, Ken McGillivray, Mimi Pienaar, Willie Steyn, Elona van Helsdingen, PC Janse van Rensburg and Izak Vollgraaff. This is a group exhibition by art lovers who get together on a regular basis to paint and to be inspired by each other’s diversity, skills, talent and enthusiasm. Opening 3rd October 2013 at 6pm Closing 26th October 2013 at 2pm, 60 Church Street, CBD. T. 021 423 5309. www. The Cellar Private Gallery Dealing exclusively in original and investment art, offering works by a variety of renowned and upcoming SA artists. 12 Imhoff Str, Welgemoed, Bellville. T. 021 913 4189. The Great Cellar. Alphen Estate Constantia James Vicary Thackwray - The retrospective exhibition, An exhibition of the selected works of James Vicary Thackwray (1919-1994) depicting the Bo-Kaap, District Six, Cape Winelands amongst others. 11th October 2013, 18th October 2013, The Great Cellar, Alphen Estate, Alphen Drive Constantia Cape TownCape TownT.021 794 6461 The Framery Art Gallery Return, Ishmael Thyssen, recently recognized with four other Capetown sculptors in Against the Grain,currently showing at Iziko, is showing new and previously exhibited sculpture, relief work and paintings. Opening 2 October 17h30 until 2 November 2013, 67g Regent Road, Seapoint. T. 021 434 5022. C. 078 122 7793. The Framing Place Conservation framing, Framing of art, Block mounting and Box frames. 46 Lower Main rd, Observatory. T. 021 447 3988. The Lisa King Gallery Specializing in top SA abstract/contemporary art, sculpture and exotic glassware. Cape Quarter Piazza, 72 Waterkant Street, Green Point. T. 021 421 3738 The Lovell Gallery 5 Oct.-26 Oct. ‘Walking man’ solo exhibition by Andre van Vuuren, 139 Albert Rd, Woodstock, CT. T. 021 447 5918.

What if the World/Gallery Until the 12 Oct. Ecstatic Entrophy by John Murray. 1 Argyle Str. Woodstock, CT. T. 021 802 3111. Windermere House The private art collection of Cape Town based artist Rachelle Bomberg, showcasing large, mystical/surreal abstract oils. Artist available by appointment. 58 Windermere rd, Muizenberg. T. 021 788 1333. Worldart Gallery Until the 27 Oct. Exhibiting at Artforme. The Lookout V&A Waterfront. 54 Church Street, Cape Town CBD. T. 021 423 3075.

Western Cape Brak River Artat39long Great Brak Muse Showcase, Showcasing “Karoo Enchantment”-a collection of nature-inspired works by artist Susqya Williams.Also a collection of exquisite Ceramics by Hennie Meyer and Clementina van Der Walt. 39 Long Street , Great Brak RiverC.082 576 3338

Breede River Edna Fourie Gallery An intimate, light-filled gallery space with the feel of a sanctuary. The exclusive home of Edna Fourie’s ethereal art : oil paintings, readymades and installations. , Main Rd, McGregor. T. 083 302 5538.

Calitzdorp Kraaldoring Gallery Art courses in the Great Karoo: if you love art, space, crisp Karoo air, good food and great company, then you should not miss this unique experience. Groenfontein Rd, 11kms outside Calitzdorp T. 082 575 7969. Marinda Combrink Studio & Gallery A Fine Art Miscellanium: recent paintings & drawings by Marinda Combrinck. 33 Andries Pretorius St, Calitzdorp. C. 079 968 1588.

De Rust Portal Gallery An intimate gallery with works by selected contemporary artists, including Carl Becker, JP Meyer, Estelle Marais, Diane McLean and Hermann Niebuhr. 41 Schoeman Str, De Rust. T. 082 297 6977.

The Photographers Gallery za & Erdmann Contemporary 63 Shortmarket Street, Cape Town. Tel. 214 222762.




Dylan Lewis’s reputation as one of the world’s finest wildlife sculptors is already established, but does not end there. For him, wild animals and the wild areas in which they live are far more than elegant subjects of art; they are an essential part of human identity. Wildness and wilderness, he believes, are not only ‘out there’; they exist within each one of us, if only we would realise it. And I agree with him. We have forgotten that we are the human animal, biologically and psychologically bound to the earth and all living things, a part of the web of life. Today, it is hard to deny that we have lost our sense of equilibrium in nature. As a consequence, the wild areas and wild animals of the world have suffered. And so have we. Disconnected from that which is rich and raw and untamed in us, we have become a psychologically lonely and fragmented species. Dylan’s powerful and potentially disturbing works – humans with animal masks, some with claws, others with wings or horns – are all mirrors of the essential nakedness of the human-animal interface, and fitting reminders of where we have come from. In keeping with the theme of the award-winning UNTAMED exhibition in Cape Town, ‘Exploring the lost balance between humankind and nature’, these works are intended as a statement of respect for our deep biological and psychological connection to the wild; a reminder that every human being is a living museum of our wild origins and our relationship to all living matter. It has been a privilege to work with Dylan on the UNTAMED exhibitions. Out of a shared concern for the environmental issues of our time, it is our wish that we may add to the measured voice of biological science with the often immeasurable voice of the arts. Ian McCallum : Psychiatrist, analytical psychologist, wilderness guide and poet UNTAMED : SCULPTURE FROM THE UNTAMED SERIES by Dylan Lewis For enquiries contact: Nic McElhatton Tel. +44 (0)20 7752 3290 Private Sale 17 September to 20 December 2013 These sculptures can be viewed in Berkeley Sqaure

The artist in his studio surrounded by works in progress, and natural artefacts that inspire composition and surface texture in his sculpture. SA ART TIMES. October 2013



(Left) Artist Jenny Parsons with ‘Kloof’ (Top) Ian Hunter and Liz Layzell (Below) Betty Salmon and Mariane Swart

Artist Jenny Parsons and Peter van Straten, Dorat and Maureen Viviers, Janet Anderson, Frances Brennan, Lee-Anne Rennie and Mary Visser NATALE LABIA’ S ROCK / PAPER / SCISSORS AT THE CASA LABIA, MUIZENBERG, CT

Count and Countess Labia with the photographer; Natale Labia in the middle | Ruth Allen, Giulio and Mirella Bertrand | George Eadie and Tom Boardman All above photos: Michaela Irving

GALLERY BUZZ | ART TIMES “Prototype” (curated by Aidon Westcott) at D-Street Gallery, Stellenbosch

Richard Smith in front of his Shaman | Artists Talitha Deetlefs and Paula van Coller Louw, David Silberbauer, Ronnie Donaldson (gallery owner) and Corlie de Kock (artist and curator at Grande Provence) | Alex Hamilton and Hannalie Taute’s work Caroline, David and Lewis Silberbauer Eric Duplan’s solo exhibition titled “Ancient Future” at Gallery 2, opened by Gordon Froud, Johannesburg

Gordon Froud and exhibiting artist Eric Duplan Liebrecht Art Gallery Opening : A celebration of Philip Badenhorst’s 30th year as a full-time artist, Somerset West

Philip Badenhorst flanked by the harem: Aida Taljard on his left, and Vanessa Lammers | Francisca Gebert, Francois Jonker, and Gustav Vermeulen | Avril Gardiner, Karen McKerron, Cor Gardiner, and Philip Badenhorst Zimbabwean Artist Shannon Murphy currently exhibiting at Harare’s latest Gallery Njelele Art Station. Photographer as Njelele Art Station

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ART TIMES | GALLERY BUZZ Provenance proudly introduces Art de Sade – Cape Town’s newest emporium of creativity : at 6 Vrede Street, Gardens, Cape Town

Directors: Paul Myson and Warren Scheuer.

Amanda Rossouw and Charles Stidworthy with David Bothas work

Siya Ngcobo, Eudes Panel and Sory Ebrahim, Some of David Bothas relatives; Reinhardt Sieberhagen, Nicole Ziervogel, Emile Kruger, Sassa Botha-Kruger, Carmen Kruger, Paul Kruger

Lucy Diamond, Warren Scheuer and Odysseus, Eddie and Lyn Scheuer and David Hallale, (Top Right) Lucy Diamond All Art de Sade Photos: Michaela Irving

Lucy Diamond



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(Top right) Shaun Gladwell, Approach to Mundi Mundi 2007 (Top) Eugene von Guerard Bush Fire, 1859 Sydney Nolan’s Ned Kelly series | Floodplains and bushfires - Australia at the RA Detail from Fiona Hall’s Paradisus Terrestris 50 | Bark paintings - Australia at RA (Bottom left) Installation shot of Imants Tillers Shadow of the Hereafter

Nushin Elahi’s

London Letter

I remember travelling through Spain with an Australian friend. We’d both look at tall bluegums in the dry countryside and sigh for home. There are many similarities between Australia and South Africa, not only in the wide open spaces and the big skies, but also in a complex historical view of indigenous and colonial cultures. It’s a brave attempt to sum up an entire country in a single exhibition, but the Royal Academy’s ambitiously titled Australia (until 8 December) is a superbly facetted portrayal of the red continent and its people in 200 works. Sidney Nolan, one of the country’s most famous artists, said, ‘A desire to paint the landscape involves a wish to hear more of the stories that take place in the landscape.’ So much of Australian art is inextricably linked with the land, whether it is the instantly recognisable and yet inscrutable Aboriginal art, the realism of early painters or the more politically charged contemporary ones. They weave the stories of a vast and ancient land so evocatively one wants to know more. The exhibition opens with a telling image: a motorcyclist alone in a vast empty desert landscape as the sun’s rays pick him out in relief. Man against the backdrop of an often forbidding land is the theme around which this exhibition has been built. The sheer scale of the land, the drama of floods and bushfires, the arid plains and sweltering heat all play out in the images of the country dating from its penal colony days in the late eighteenth century. But of course, there was an ancient culture already there, and all the oral history handed down over the generations informs the powerful Indigenous art throughout the show. The colours are earthy and subtle, brown, ochre, umber, sienna and even a glowing white. The swirls and dots, the cross-hatching and lines tell of other-worldly animals, ‘Dreaming’ and sacred rituals. At ankle height a flat canvas ripples with the ridges of the sand hills of Wirrulnga, an ancestral birthing place for the women of one tribe. Rover Thomas shows the utter devastation of Cyclone Tracy in three simple colour bands, and the white plane of a communal piece of art is rimmed with jewel-like colours. Different types of Indigenous art, some with the double perspective of looking from above and across, others more detailed animal forms on eucalyptus bark, show the intricacy and scope of the genre. The settlers started out simply mapping the land, many of the first pictures being done by military draughtsmen. An exuberant catch of fish, a close-up of nature’s bounty, is listed as the first oil painted in Australia. British artists arrived and sent home images of the expansive space; people such as John Glover, whose depiction of his neat new home, set against an incongruously wild landscape, was once exhibited in Bond Street in London. Ventures into the interior often ended disastrously and the shimmering heat of Ludwig Becker’s Outback was found after the explorers had died of thirst. Europeans brought a new perspective; the

SA ART TIMES. October 2013

German Romanticism of Eugene von Guerard shown here with grand oils of mountain outcrops, or the poignant sun setting on an Aboriginal tribe, where a single child bodes ill for their future. The strong Australian light inspired an Australian Impressionism with artists such as Tom Roberts and Arthur Streeton who felt at home in the bush, creating evocative scenes with huge bluegums and dusty farms, or mining in the inhospitable rocky land. By this time the country had established its modern image inextricably linked with the vitality of sea and sun, captured here in Max Dupain’s iconic 1937 photograph Sunbaker and a host of other beach scenes. Nolan is represented with four of his Ned Kelly series, which have become so much part of Australian culture that the artist’s version of this fabled bushranger was featured in the Opening Ceremony of the Sydney Olympics in 2000. Some of the most striking contemporary works are the sparse landscapes of Fred Williams, a brooding comment on being an artist from Arthur Boyd, Brett Whiteley’s fabulous Big Orange (Sunset) and a photograph of the pristine wonders of the Franklin River. Surprisingly, the only image of Ayers Rock or Uluru, that glowing red symbol of the country, is in pure white! There is ample kitsch too – from the Victorian excesses of silver trophies and inkwells through to the fluff of what looks like giant balls of wool (Woolmark is one of the sponsors) and the floral trim of an apocalyptic vision, not all of the work strikes a chord. The exhibition is supported by the National Gallery of Australia in Canberra, with loans from across the country. It tells a more complicated story than one expects, even if some of the recent work lacks the stature of its predecessors. It’s a monumental survey and a landmark exhibition that simply mustn’t be missed. The estuary of any river is often a bleak and moody place, where sea and river merge, and the Thames is no exception. The exhibition Estuary (until 27 Oct) at the Museum of London in Docklands celebrates the Museum’s first decade, and if you haven’t yet seen this offshoot of the London Wall museum, it is definitely worth a visit. Set in the heart of the Docklands, in an old warehouse conveniently close to Canary Wharf, it tells the story of the city and its relationship to the sea in a series of engaging displays. This is an appropriate subject for its first art exhibition, although awkward hanging doesn’t always allow sufficient room for paintings and some exhibits are more eco than art. My favourite was Michael Andrews’ huge oil of the Thames estuary that seems to dissolve as you look at it, but there are striking films of the rising tide, of the changing moods of the sea and of the intriguing Maunsell forts that still stand like alien warships in the river. It’s a small show, but one that captures this no-man’s land very evocatively.



Jack Lugg

artist of his time Author: Timothy Twidle : Published in the CX Press : Garden Route Newspaper JACK Lugg, one of SA’s most renowned and best known artists, died on Monday September 16 in Plettenberg Bay at the age of 89. Both painter and sculptor, his work was abstract, modern and cutting edge. His career spanned more than seven decades and his first exhibition was held in 1941, when he was just 17. He studied under one of SA’s most eminent artists, Walter Battiss, and while in Paris, received instruction from the great Henri Matisse - equal in rank to Pablo Picasso, Paul Cézanne and Vincent van Gogh. Jack Lugg was born in Pretoria in 1924 and attended Pretoria Boys High. During World War II, he served with the South African forces in Egypt and Italy. He studied at Durban School of Art from 1946 to 1948 and was then awarded a scholarship that enabled him to study further in England and France. It was during this time, at the famous École des Beaux Arts, that Jack Lugg learnt under the tutelage of Matisse. Back in SA, he taught for a year at Rhodes University in Grahamstown before moving to the Technical College in East London, where he was head of the School of Art for 35 years, from 1953 until 1988. In the course of 69 years, Jack Lugg held 72 exhibitions at galleries in Europe, North America and South Africa, as well as completing numerous commissions for murals and sculptures.He leaves a legacy of a vast body of work and an unflagging enthusiasm for fine art. Away from the studio he enjoyed gardening, reading and classical music. In 1966, Jack married Rosemary ‘Rose’ Cooke, who gave him love and support throughout his career. In 1988, they moved to Knysna and became well known in the town. For the past three years they have resided at Formosa Garden Village in Plettenberg Bay. Jack Lugg is survived by his wife, Rose, children Hugh, Linton and Pippa, and seven grandchildren.

Top: Portrait of the artist as a young man: On the back of the photo are the words: Jack Lugg, self portrait, 20/12/48, Durban. This is the year that Jack won the Emma Smith Scholarship at the Durban school of Art to study overseas.He used this scholarship to study in 1949 at the Camberwell School of Art in London and in 1950, the Ecole des Beaux Arts, Paris. Middle: Jack with his family and wife Rose, Photo of Jack in recent years. Below: Phantom of the Opera, Past memories. To view more of Jacks work see

who’s afraid of irma stern a solo exhibition presenting paintings, photography and jewellery

marina louw in dialogue with irma stern please join us for 20th nov - 5th dec the opening on thursday 20th of november 6pm.

MARINA LOUW - woman in black hijab- digital print on paper

EXHIBITION HOURS: Mon- Sun: 9am - 4pm

upstairs @ bamboo 63 rustenberg rd melville

dana macfarlane: 082 784 6695

c o d e


SA Art Times Fine Art Print Feature

Fair Value: Investing in prints Article reproduced from The Artist Press Published in Business Day Art: Written by Penny Haw Read more at The Artist Press, IT goes with saying that original artwork is at the top of the art investment food chain. But, in recent years, an increasing number of South African collectors - and artists - have begun recognising the value of collecting and producing prints. For artists, says Andries Loots of Gallery 34 Long, prints can provide useful additional exposure, and for collectors, the opportunity of owning some excellent work otherwise not available. “In the past, people made the mistake of thinking that a print is just a copy of an artwork,” says World Art gallerist, Charl Bezuidenhout. “It is, in fact, much more than that: The production of a good print requires a great deal of skill, talent and knowledge from the artist and the printer. It is a form of artistic expression with its own set of challenges that need to be overcome to produce a good artwork.” Arguably South Africa’s top printer, Mark Attwood of The Artists’ Press near White River in Mpumalanga, corroborates this: “I have seen a significant move toward collectors buying prints in the past 15 years, and I think improved investment value is one of the reasons for this,” he says, offering a Claudette Schreuders’ print that was sold for R1 700 four years ago and recently resold for R6 000, as an example. One of Attwood’s current projects will form part of William Kentridge’s next opera, which is based on a book by Gogol. Other artists who have worked at The Artists’ Press include Conrad Botes, Robert Hodgins, Kathryn Smith, Penny Siopis, Dumisani Mabaso, Colbert Mashile, Sam Nhlengethwa, Tommy Motswai and Schreuders, to name but a few. Attwood believes that the facts that so many high profile artists view the medium as an integral part of what they do and have elected to do significant SA ART TIMES. October 2013

works in print, have contributed to the increasing value of prints in South Africa: “This gives buyers the message that prints are important, and even encourages them to take the prints of lesser known artists seriously.” But how do you assess the value of a print? Attwood stresses that buyers should, first and foremost, buy works “because they love them, and want to live with them on their walls - and if there is an investment value, that is an added bonus”. He believes that ethics play a major role in the value of a print: “Collectors need to be confident that a work that is sold as a limited edition of, say 30 prints, really is such. To create a culture of ethical print production, we keep detailed documentation sheets of almost every print we have published, stating how many prints and how many proofs were pulled, and who got them, as well as the technical processes used in the production of that print. These documentation sheets are available to anyone who is interested. We work hard to ensure that the information in the documentation is correct, and we destroy all prints that are not listed. These documents are signed by both the artist and myself,” he says. “My advice to buyers is to get documentation, read it, understand it, ask questions where necessary, and make sure the answers make sense. And, in terms of setting prices, the Tamarind Institute (a major North American lithography training centre and publisher of fine art) uses “roughly one sixth of the price of a similar sized drawing by the same artist” as a guide. We try to follow the same formula, but there are many variables, and more often than not, we will deviate from it. The cost of production also has an impact on the selling price.” Attwood says reproductions have long plagued the print world. The increasing use and abilities of digital printing processes mean that there are more possibilities than ever to copy or reproduce art, and call it a print. “The distinction we make at The Artists’ Press is that artists have to be integrally involved with the print process. They are involved in the conception of the print and decide how to use the medium. They also approve every impression by signing them when the edition has been completed. When we make use any photographic or digital processes, these are detailed in the documentation. What we do not do is take a work done in some other medium (like oil on canvas), scan it, print it and call it a print. That, to us, is a reproduction and should be valued accordingly,” he says. Bezuidenhout offers collectors of prints some additional practical pointers: “Look at the edition number to see how many there are. The fewer prints there are in an edition, the more valuable each is. Each print of an edition is numbered, e.g. 1 of 7 or 25 of 60 or whatever the case might be. This tells you how many of the print there are and which one you have. Number 1 is not more valuable than, for example, number 25 or number 60. It is merely an indication of which one it is and many prints were made. As the print run sells out though, you might find that the price of the remaining prints increases.” He also suggests that collectors learn about the various printing techniques that are used. Certain techniques require more time and skill than others, and accordingly, can impact the price: “Make note too of the quality of the image, particularly where any inkjet processes might have been involved,” he says. “And look at what paper has been used. With some printing techniques, the use of archival paper can play an important role in assuring the longevity of colour.”

Claudette Schreuders at The Artist Press, White River 39


Lyn Holm met with young and upcoming artist, Siphungela Zolani to ask him about his work. A show of his recent woodblock prints has just opened at the South African Print Gallery in Woodstock, Cape Town. AT: Zolani, what is the process of art-making like for you? SZ: It’s like crying. It’s like putting your feelings on paper. You see the results after putting them on paper. I release some prints like that. AT: How did you start making art? SZ: I used to make these drawings in the sand. Like this (he slides his foot along the ground). They couldn’t last because the wind would come and change them. The interesting part about art is that it’s always the same story. You create one beautiful thing and then the wind blows it away. Someone buys the work, then it’s gone. The meaning is gone. AT: What sort of art education do you have? SZ: The real one. I learnt along the way. But I did go to university. Walter Sisulu. I majored in painting and printmaking. AT: If you look back from the beginning, writing in the sand, what obstacles did you have to overcome to get where you are today? SZ: That same wind comes to blow the artworks away. This concrete jungle, you have to sell art in order to survive. That’s the main obstacle. Also, the competition in the art world is killing me. AT: What made you choose to start printing woodblock and linocut prints? SZ: I don’t know if I chose it or it chose me. I love line. Line has this supreme definition. (The linocut and woodblock prints) bring more me out of me. AT: When I look at your new work, I see images from a vibrant night life; scenes from theatres, music halls and clubs. Are the places represented real places or are they places in your mind? Why did you choose them? What do they mean to you? SZ: They’re from real life, places I see and I sketch. Sometimes my work is motivated by conversations in the street. I always want to take my art further until it reaches everyone, even the sidewalk sleepers, until it can trigger 40

something to get them up and live a life in the world. AT: So is your work is trying to motivate people to live life to the fullest? SZ: Not really, just to energise and inspire. It’s my dream to affect those who think they’re unable to do anything. My biggest achievement would be to make viewers dance when they come to the gallery and see my work. AT: You have produced a fair amount of portraits in your career. What make you capture specific people? SZ: Some of the people I don’t even know. It may be a rich face or a poor face, just some faces tell a whole story that I just need to capture. AT: Garden Boy is one of your portraits that really draws the viewer in. Tell me a little bit about it. SZ: Actually, it’s about me. When I meet people and hear their stories, I create work and I portray myself in it. I don’t know if that makes sense. “Garden Boy” is just a title. The boy’s face is not mine. It’s the life of someone else but it’s a portrait of me. AT: I can see by your prints that you are very careful to only carve out of your woodblocks what is necessary, leaving the surface of your blocks more intact than not, resulting in there being more black than white on your finished prints. The amount of black gives your prints an eery quality. Is this intentional? SZ: Ja. The idea when I make art is to cut as little as I can (into the woodblock), to try to see if little light can dominate a lot of darkness. That’s how the past few years of my life have been. AT: Where to from here? What can we expect to see from Siphungela Zolani in the future? SZ: You mean like two minutes from now? When is the future? I’m trying to switch off from society a little bit. I will then invite the society in after some time in my studio. The Art Times looks forward to seeing what becomes of that time in his studio. Keep an eye on this one! Two minutes is all he will need to become a top player in the art world. SA ART TIMES. October 2013


Jonathan Comerford is currently exhibiting his most recent solo work, as well as some of his collaborative work at the South African Print Gallery in Woodstock, Cape Town. Lyn Holm met up with him to catch up on his thoughts on printmaking and living as a South African artist in London. AT: You do not merely dabble with printmaking but have truly mastered traditional print techniques over your 3 decades of art practice. What drew you to printmaking? In what ways does it appeal to you over other artistic media? JC: What drew me to printmaking was the technical side as an art form. I just enjoyed the interaction with the presses and what they can do. AT: Producing work using traditional print-making techniques is time consuming, costly and requires substancial skill. We live in the age of cellphone photography and Instagram, where anyone can produce a pretty piece of digital photography without blinking an eyelid. What would you say are the advantages of traditional print techniques over digital print photography? JC: Diversity. Essentially traditional print methods are based upon the fine art processes. You can do a great painting on an iPad, as David Hockney has done, or you use paint and brushes. With printing it’s the same thing. It’s up to what you want to produce. Essentially it’s the tradition of having an original applied artform to produce the image with. AT: You ran Hard Ground Printmakers Workshop in Cape Town from 1989 until 2006. Do you still see opportunity for workshops like this to flourish in South Africa? JC: Absolutely. That’s why I am here in SA now, to see what has developed since my physical closure of Hard Ground Printmakers Workshop. Hard Ground exists wherever I go. There are a lot of print studios but they are primarily private with limited access, as opposed to open access which was essentially what Hard Ground was about. Open access is essentially people SA ART TIMES. October 2013

paying for the use of the studio and producing work with a professional approach, producing work of their own choice without any prescription to it. The workshop should play a role in encouraging, overseeing and enabling artists to raise the standard of their work. AT: Now based in London, you work from Pellafort Press from which you facilitate the creative work of others. Tell me about the Sans Frontiers project you started there. JC: The work I do at Pellafort Press is based on the same philosophy as Hard Ground. It is an open-access studio for practitioners of whichever creative medium they are coming from, who have an interest to produce an artwork. Hence the project called Sans Frontiers, which is open to all creative, likeminded people. Sans Frontiers is my way of introducing the Hard Ground philosophy in London, collaborating with myself and as the printmaker, to produce the work. Hard Ground is now collaborating with a like-minded developing open-access environment in which people from all around the world can come and work without feeling they’re having to work within the incumbent structure in Britain. This is through the assistance of Pellafort Press and its owner, Scarlett Massel. AT: Sitting in the South African Print Gallery, I look around and see your recent body of work. Your “White Van Man” series contains imagery like maps and boats, suggesting travel, as well as traffic cones and a tank, suggesting construction or deconstruction. This series is subtitled: “a view from the street, London”. What is the view? What in London influences your art? JC: I adapt my images from what I see around me in London. The traffic cone and blue palette are significant urban furniture, as I call it, that I see every day. I drive around London in my white van delivering food the blue palettes are what the food often gets put onto. To me the blue palette represents movement, not only of goods but of people internationally. The same goes for my tin canoe and paper boats. The traffic cones have to do with living in a state, highly observed through CCTV cameras. They are symbolic of an attempt of ordering of an urban environment. AT: Thank you for your time. It has been great to hear your perspective on print in South Africa and what you have been doing. So, what can we look forward to seeing from you in the future? JC: I’m interested in developing Hard Ground with various institutions in Cape Town and in doing a workshop to assist in the development of printmaking in South Africa. Jonathan Comerford invites all creatives passing through London to visit him at Pellafort Press and possibly make a Sans Frontier print with him. For any information or ideas on collaboration, please contact him via email at



Artist Proof Studio is an innovative centre of excellence that specialises in Printmaking through a variety of diverse partnerships with young artists, established professionals, community groups, patrons and funders. The studio has been active in the Newtown Cultural Precinct for 18 years and was one of the pioneering community art centres in the area before its development as a cultural hub. Artist Proof Studio is now one of the largest and most vibrant community and professional printmaking facilities in Southern Africa, accommodating up to 100 students per year and hosting, publishing, and providing print edition facilities and collaborative projects to many artists each year. Through innovative programs and community engagement, APS initiates artistic activities that can prompt cultural and social change. We wish to 42

shift the spark of passion into possibility and to facilitate active dreaming of talented individuals so that they are able to shape a better future for themselves. Printmaking provides students with technical skills that are valuable for a variety of career pursuits and can facilitate a wide range of partnerships across industries and sectors. Artist Proof Studio has an innovative and successful gallery which exhibits work of the highest quality and continues to play a significant role in feeding talent to the industries in Johannesburg. Upcoming highlights are studio exhibitions at the FNB Joburg Art Fair in September 2013 and at Christie’s Multiplied Art Fair in London in October 2013. SA ART TIMES. October 2013

INDEX OF SA FINE ART INSTITUTIONS / SA PRINTMAKING FEATURE | ARTLife South African Art Galleries that deal with Prints 34 Fine Art Artvark Gallery Art on Paper Art Vault Abalone Gallery Artthrob David Brown Fine Art David Krut Projects Gallery 2 Goodman Gallery Kalk Bay Modern SA Print Gallery Stevenson Gallery Stuart Gallery Strydom Gallery Prince Albert Warren Siebrits White House Gallery

Teaching Institutions, Workshops Free State Bloemfontein Central University of Technology Printmaking Dept. Hilda Faber: Tel 051 5073106 Intaglio. Also silkscreen, monoprint, relief, colliotype etc. Gauteng Johannesburg Artist Proof Studio Director: Kim Berman Tel: 011 4921278 E-mail: Website: Focuses on: Relief, intaglio, silkscreen and photo- mediums. Classes: Courses, Editioning Services, collaborations. David Krut Print Workshop (DKW) Director: David Krut Tel: (0)11 447 0627 E-mail: Website: Experimental and collaborative workshop that specialises in intaglio and relief and editions. Editioning Services David Krut Print Workshop (DKW) -Arts on Main Director: David Krut Tel: (0)11 447 0627 E-mail: Website: Experimental and collaborative workshop that specialises in intaglio and relief and editions. Editioning Services The Blue Door Print Studio Director and Master Printer: Colin Cole Tel: 082 924 6673.Website: Focus: Intaglio, Relief printing - lino cut, wood cut, collagraph, stencil card printing, Mono printing – direct and indirect / colour and black and white. Associated photomechanical processes. Tim’s Print Workshop Director and Master Printmaker: Tim Foulds Tel: 0823460811 E-mail:

Vaal University of Technology Printmaking Dept. Website: Focus: Relief and Intaglio Wits University Art School – Printmaking Dept. Printmaking Technition: Nial Bingham Tel 0742617189 Focus: Monotype, Relief, Litho, Combination of Photo based mediums and digital. Pretoria Tshwane University of Technology (TUT) Head of Dept: Andreas Schoenefeld E-mail: Tel: 0727842171 Website: University of Pretoria (TUKS) Head of Dept: Margaret Slabbert Tel: 012 420 2285 E-mail: Relief, Intaglio, Plate Litho, Silkscreening, alternative printmaking (includes digital) Asprint Print Studio Director: Andreas Schönfeldt. Contact: 082 943 8872 E-mail: Litho, Intaglio, Relief Mimi van der Merwe Print Studio Director: Mimi van der Merwe Tel: 012 4303442 E-mail: Focus: Intaglio Classes: Yes Mpumalanga The Artists’ Press Director: Mark Attwood Tel: 013 751 3225 Cell 083 6763229 E-mail: Focus on Lithographic technique. Also holds twice year monoprint classes. Highly recommended Artist accommodation for collaborating artists, printing editions Tackach litho presses (75 x 105cm) and seventy stones Easten Cape Grahamstown Fine Line Press - Printmedia Section Rhodes Fine Art Director: Professor Dominic Thorburn Tel: 046 6038193 E-mail: Focus: Intaglio, Litho, Silkscreen, Relief and photo- print mediums. Port Elizabeth Nelson Mandela Metropolitan University, Art Department, Printmaking Head of Dept: Ethna Frankenfeld Tel. 041 5043358 E-mail: Intaglio, Relief, Photo Transfer, East London

The Sharon Sampson Studio, Gallery, Workshops. Director and Master Printer Sharon Sampson Tel: 082 3226752 E-mail Website: Focus drypoint etching, monoprints, monotypes, collographs and lino/woodcuts. Classes Yes

Walter Sisulu University, Art Department, Printmaking Head of Department: Nhlanhla Nsusha E-mail: Tel 0837520177 Focus on woodblock relief, Intaglio.

University of Johannesburg (UJ) Printmaking Dept. Faculty of Art, Design and Architecture. Department Head: Prof Kim Berman Tel: 011 559 1098 E-mail Website: Focus: Intaglio, Relief, Silkscreen, Photo mediums, Digital.

The Caversham Press and Caversham Centre for Artists and Writers Malcolm Christian / Jabu Mtheku Location: Caversham is situated in the rural midlands of KZN and as such, offers a quiet, focussed environment for creative engagement. The studio is housed in a converted 19th Century Methodist chapel.

SA ART TIMES. October 2013

Durban The Stepping Stone Press Director: Greg Heyns Phone 031 303 3193 Durban University of Technology Art for Humanity Projects Artists for Human Rights Trust Director: Jan Jordaan E-mail: Tel: 031 373 6610 Western Cape - Cape Town Ruth Prowse School of Art Director: Eunice Gersteyn Tel 021 4472492 E-mail: Focus on Intaglio, also has relief, silkscreen and photo – print mediums. Michaelis School of Art, Printmaking Head of Department: Andrea Steer 32-37 Orange Street, Gardens, Cape Town. Focus: Intaglio, Litho, Relief, Silkscreen and Photo-mediums. Print Workshops Warren Editions Director: Zhané Warren Focus of studio: Etching, Polymer Photogravure and monotype Other: Internship Program for 2 months Judy Woodbourne Print Studio Director: Judy Woodbourne Spencer St Studio, 6 Spencer Road, Salt-River, Cape Town Focus of Workshop Etching and monoprint Teaching Classes Classes are run throughout the year. Short courses Pangolin Press / Alma Vorster Print Studio Director: Alma Vorster Montebelo Craft Centre,Newlands Ave, Newlands E-mail: Intaglio, monoprint and embossing. Classes. Christine Scheid Press Director Christine Scheid. Press at Stag Studios, in Simonstown Library, Simonstown Focus on Relief and Intaglio, Gives adult art classes. Stellebosch University of Stellenbosch, Art Department, Printmaking Victoria Street, Stellenbosch Tel: 021 808 3052 George Atelier Strydom Workshop manager: Ian Tainton Strydom Gallery, 79 Market Street, George. Tel: 044 874 4027 E-mail: Website: Focus: Intaglio, Relief, lithography. Classes given

Natal KwaZulu Natal



Maggie Laubser : Lake Scene with Trees and Mountains, recto; Portrait of an Old Man with Hat; Landscape with Trees and Sheep in the Background, verso Signed and dated ‘22. Oil on board, 49 x 58cm R500 000 – R700 000

Discovery of Double-sided Laubser Painting Delights at Strauss’s Spring Auction An extraordinary discovery was made when the owners of a beautiful Maggie Laubser painting decided to reframe it. To their surprise, they found an equally good painting on the back. According to Stephan Welz, South Africa’s top modern art expert and auctioneer, this remarkable double-sided painting, which is to be offered at Strauss & Co’s 21 October auction at the Vineyard Hotel in Newlands, also has an impeccable provenance and interesting history. It was purchased by Francois Petrus (Toon) van den Heever from an exhibition in Bloemfontein, and later given to his only daughter, Leonora, sometime before 1959. Following a brilliant legal career, that included practising at the Bar at Windhoek from 1921, Toon van den Heever was appointed Senior Law Advisor to the Union Government. In 1931 he was Secretary for Justice, Law Advisor for External Affairs and Government Attorney. Thereafter he was appointed to the Bench in Windhoek and transferred to Bloemfontein in the Appeal Court. He was instrumental in according Afrikaans equal status with English and was the outstanding new poet of the 1920s, whose anti-conformist verse foreshadowed the great upsurge of ‘new’ Afrikaans poetry in the 1930s. Drawing on conflicts in the transition from a rural to an urban society, his poetry implied a natural bond between the farmer and the soil. Included in his circle of close friends were Eugène Marais and JH Pierneef, who produced several portraits of Toon. Judge Leonora van den Heever is the first and for twenty years was the only woman to have been appointed a Judge of the Supreme Court in South Africa. She was also the first female judge appointed to the Appeal Court in Bloemfontein. The landscape painting is undoubtedly a key painting in the development of South African modernism, says Emma Bedford, Senior Art Specialist at Strauss & Co. Beneath a shimmering lilac sky, the dazzling ultramarine sea is bracketed by an olive green cypress and the gnarled orange and mauve trunk and teal leaves of what is probably an olive tree. These motifs are typical of her Italian paintings produced while living and painting near Lake Garda in 1920 and on her return to Italy in 1921. While her brilliant treatment of the subject evinces the vividness of observed reality, Laubser may well have worked from her sketches to paint this on her return to South Africa. The shepherd, who worked on the family farm Oortmanspoort, was a favourite subject. With his hands folded together under his chin, as if leaning on a stick, he is shown surrounded by sheep in the cool fields of an early morning. The brightening sky of on either side of his hat, with jaunty feather proudly 44

inserted into the band, and his crimson scarf reflected in the warm tones of his skin, highlight the artist’s empathetic portrayal of the local farm workers. Echoing Toon van der Heever’s poetic explorations of the ties binding farmers to the soil, the portrait epitomises the pastoral idylls that have made Laubser such a sought-after artist in South Africa. By contrast, the landscape retains all the vigour of her German Expressionism mentors while hinting at the life of languor evoked in Henri Matisse’s Riviera vacation paintings. These two paintings, the landscape inspired by her studies and travels in Europe and the shepherd evoking her local agricultural roots, encapsulate the multifaceted nature of Maggie Laubser who, despite her humble origins, made one of the most important contributions towards redefining South African art. In describing the shift that occurred in the artist’s style during her sojourn in Italy between October 1920 and August 1921, art historian, Liz Delmont, says that while Maggie Laubser continued to paint directly from nature: there is a definite shift from the descriptive picturesque interpretation practised up until this time, to a more abstracted decorative style, in which there is a simplification of form, reduction of detail and intensification of hues ... Laubser’s development while in Belgium, but more particularly in Italy, towards a stronger and more high-keyed palette should be understood within the context of her ideas and beliefs. For her, very clear and recognizable forms were to be found in nature ... This mode of perceiving finds its parallel in her painting for, by using stronger, purer colours and greater contrasts of hues in large defined areas, there is an intensification and clarity of shape. By her use of colour, therefore, she expressed her consciousness of structure rather than superficial appearance in nature thus creating a work of clarity and order, paralleling the “perfection of creation”. Auction in Cape Town - Monday 21 October 2013, The Vineyard Hotel, Conference Centre, Newlands Important South African Art & Furniture, Decorative Arts & Jewellery including the Dr Johan Bolt Cape Collection Enquiries: +27 (0) 21 683 6560 Contact numbers during viewing and auction: mobile +27 (0) 78 044 8185 Fax +27 (0) 21 683 6560 Catalogues are available and can be purchased at R150 from our offices in Cape Town and Johannesburg. Read more: SA ART TIMES. October 2013


Strauss Online: Time-limited auction sales exclusively online With the exponential growth in online transactions, virtual shopping has become increasingly prevalent in contemporary society. The inevitable development of online auctions has consequently followed suit. Not to be confused with online bidding (which simply refers to placing bids on lots during live, physical auctions via the internet), online-only auctions are virtual auction sales conducted exclusively on the internet. Continuing in the stead of international auction industry developments, Strauss & Co. is proud to introduce its latest product, Strauss Online, a solely online auction platform where all sales are time-limited and offered only at This industry advancing platform has been developed to nurture the broader art market and to make quality fine and decorative art works accessible to a more expansive market than was ever previously the case. Potential buyers and emergent collectors will have the benefit of being able to view and bid at sales from anywhere in the world, thereby making art auctions accessible to prospective buyers unfamiliar with the auction process. Selling online is today key to engaging younger buyers. This site not only strengthens Strauss & Co.’s position as market leaders but also makes history as the first dedicated, exclusively online-only art and antiques auction website in South Africa. This also gives the company the ability to host sales more regularly, thereby relieving clients of the lengthy wait between their four annual catalogue auctions. With its focus on more affordable art, Strauss Online will reach an enormous audience of art appreciators, far more so than would ever be able to view a live, physical auction. This will ultimately benefit the whole market as sellers will have their art works exposed to a dramatically increased audience, and buyers will have the benefit of viewing the sale from any place globally, at any time, for the duration of the sale.

Irma Stern back ontop at Bonhams

A stunning painting by Irma Stern, titled ‘The Malay Bride’ achieved £1,202,500 (R19,630,500) yesterday (Oct 2nd) in London at Bonhams South African Art sale. The auction was held on the artist’s birthday. The top three pictures were all paintings by Stern. The sale made a total of £3,218,428 (R52,482,936) for some 128 works of art, and three new world records were set. The sale confirmed the strength of the market for South African art in London, with South African and international bidders competing furiously for the lots on offer. Giles Peppiatt, Director of South SA ART TIMES. October 2013

African art at Bonhams, comments: “It is not surprising that this picture attracted the amount of interest that it did, even though it cannot be exported from South Africa. She is one of Stern’s great masterpieces and although, due to SAHRA’s export ban, she jilted us at the altar for the sale here in London, all eyes were on her fate at the auction. ‘The Malay Bride’ is something of a mystery. The face and clothes provide clues as to who she might be—a bride, beautiful and dignified, ceremoniously formal—but her character is cloaked in vivid colours, textures, and sketchy brushwork. Therein lies her charm.” Alfred Neville Lewis’ ‘Portrait of a young African lady wearing a blue shawl’, Dumile Feni-Mhlaba’s ‘Applause’, and Frederick Hutchison Page’s ‘All the long tomorrows’ all sold for world record prices. Gerard Sekoto’s ‘Girl with guitar’ also made a world record for one of the artist’s post-exile works. Other artists whose works appeared in the top ten of the sale include Jacob Hendrik Pierneef, Stanley Pinker, and Vladimir Tretchikoff.

Earlier this year Christie’s launched an online-only site with highly successful sales of Andy Warhol fashion drawings, Hong Kong jewels and Wines, and many more to follow. There has been a marked increase in virtual stores and online sales platforms globally. The online art trade 2013 showed that an increasing number of people are prepared to spend £50 000 or more on a single item online, without seeing it “in the flesh”. With the benefit of Strauss & Co.’s principled reputation, superior standard of cataloguing and expertise, and the guarantee of quality and authenticity unmatched by their competitors, research by ArtTactic corroborates that this product will indeed be highly successful, as trust and reputation, more than technology or pricing, are the primary driving forces behind online success. Recently TEFAF reported the value of the global art market at $56bn. ArtTactic estimates that online sales across all platforms for 2012 were $870m, and will rise to $2.1bn by 2017. With the growing confidence in web-based art businesses, Strauss Online is set to deliver the same success and enjoyment for its users as has become synonymous with Strauss & Co. Text by Ruarc Peffers, Senior Paintings Specialist. Strauss & Co StraussOnline’s inaugural auction opens on Monday 14 October and closes on Friday 15 November 2013. The workings of the site will be demonstrated at the previews of our forthcoming auctions: Cape Town (17 - 20 October) and Johannesburg (7- 10 November). StraussOnline will also be present at The Artforme Contemporary Art Fair at The Lookout, Waterfront, in Cape Town (25-27 October).

WWF auction raises almost R5m R300 000-R350 000). Lionel Smit’s Disclose fetched R300 000 (est R140 000-R160 000), Neil Rodger’s Young Woman with Yokohama Cockerel II R220 000 (est R150 00-R170 000) and Harold Voigt’s Winter Sunlight R200 000 (est R100 000-R120 000). John Meyer: Okavango Channel Blooms

by Michael Coulson While prices at charity auctions are even less necessarily determined by artistic merit than at commercial sales, last week’s auction supporting WWF SA is at least a reflection of a healthy market for SA art. All 22 lots sold, many for comfortably more than the estimates. The overall estimate range was R2.56m-R3.07m; the gross was R3.89m (with no commission being charged, the hammer prices and gross were the same). Top price was R750 000 for a large John Meyer oil, Okavango Channel Blooms (est R550 000-R600 000), followed by R500 000 for Leigh Voigt’s painting of a venerable baobab, The Saqole Giant (est

Other works to perform well against estimate were Karel Nel’s two panels, Taung/Piltdown, at R150 000 (est R30 000-R50 000) and William Kentridge’s Universal Arcvhive (Six Birds) at R160 000 (est R80 000R100 000). As well as the money raised on the night, WWF also benefited to the tune of R1m from the sale for R2m in New York (a record for a photograph in SA) of Australian-born photographer Adrian Steirn’s portrait of Nelson Mandela (the inspiration for his 21 Icons Global Project), the other R1m going to Nelson Mandela’s Children’s Hospital. Main sponsors of the event were Everard Read Gallery, Circa (the venue), Strauss & Co (whose Stephan Welz acted as auctioneeer), Deutsche Bank and Nedbank. 45

The South African

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Photo: Michaela Irving

South African Art Times October 2013  

South Africa's leading Visual Arts Magazine

South African Art Times October 2013  

South Africa's leading Visual Arts Magazine