Art Times December/January 2020/1

DEC/JAN 2021 ARTTIMES.CO.ZA

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Penny Siopis | The Bench, Grahamstown Library | Sold for R 278 640

SOUTH AFRICAʼS LEADING VISUAL ARTS PUBLICATION

Art Times DEC/JAN 2020/1 Edition

CONTENTS Cover: Adele Van Heerden, Pools, Ink and Gouache on Film, 38x30cm, 2020, 131A Gallery

12 M.O.L 14 - ZOOM AND GLOOM OR WISHFUL THINKING? Ashraf Jamal Column 20 THE RUPERT MUSEUM Open Call to Artists 22 DENNIS OSADEBE Figures of Playful Rebellion 28 INTROSPECTION Art of Contemporary Africa 34 NO HOLDS BARRED Thought-provoking, moving and powerful 38 MPHO YA BADIMO Mamorena Senokwanyane & Kgalaletso Senokwanyane 42 PRINCE ALBERT OPEN STUDIOS Art in the Heart of the Karoo 52 STAND EASY New work by George Coutouvidis 58 THE DON QUIXOTE PORTFOLIO On show at Oliewenhuis Art Museum 64 FAREWELL / HAMBA KAHLE, 2020

By Hendrik Theron 76 BUSINESS ART Art auction highlights galore 90 ARTGO Dec/Jan Exhibition Highlights

Tracers and Ancestors, The Melrose Gallery

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rt is one of those darned things like cats - that you just don’t know what’s going to happen next. The welcome irony about this chaotic year is that The Art Times magazine is doing even better this year than the previous year. In the art community, we are seeing more artists and quality work than ever before.

Sadly some small galleries have closed their doors and according to The Art Newspaper article (page 86) many galleries have shed a third of their staff this year. The to-large-to-fail dreadnoughts of Art Fair models are still with us online until they can find their port - free of repeated lockdown risk.

The real winners in my mind are those companies and artists who have embraced technology with both hands, feet, and wallets. A clear success here is Strauss & Co who are reporting great success in tapping into the global online market, while also creating innovative ideas such as their NORTH SOUTH Sale. The concept of the NORTH SOUTH Sale is amongst other things to merge the historical end of the year Johannesburg and Cape Town Sales onto one online platform and pushing the sale beyond traditional geographic limitations. In addition to this Strauss has gone into wines. Another success story is Welz & Co’s exciting addition of Militaria and Numismatics and I think they received an eye-opener when Ron Reid Daly’s bush shorts sold for thousands of Rands. Aspire Art Auctions and Russell Kaplan Auctioneers are also doing exceptionally innovative work. Russell Kaplan Auctioneers is one of the best examples where WhatsApp marketing is used cleverly and with integrity to get the faithful bidding, even on Sundays. Underlying this all is a high level of service delivery in the Art market.

Another important development this December sees how the grass routes art industry is re-inventing itself. Never before have I seen so many Open Studio art routes happening in one month. Somehow the end of the year seems to have become the busiest time! To find out about the Art Routes and Open Studios log onto ArtGo.co.za. Listed are Open Studios- Riebeek Kasteel, Open Studios Prince Albert, Open Studios Kommetjie, and Open Studios Porterville. There is also Baardskeerdersbos etc. One of the big things planned for ArtGo is to list individual artists’ studios in country towns with the intent of combining quality, affordable accommodation, and food with a quality art experience. First Thursdays have done wonders for reclaiming art galleries and retail outlets at night. The ArtGo team would like to open up the art experience for you with art, mind, and soul with country weekends.

Lastly, I would like to thank you for the great support that you have given us this year. We love what we do and it is from the responses from our advertisers and you, the reader, that makes us feel so good. Please feel welcome to drop us an email with new suggestions, comments, and questions when you have time over this busy end of the year. Thank you, and see you on ArtGo.co.za About the Cover Artist Adele van Heerden Adele has just finished a collaboration with 50ty/50ty Prints entitled Vanitas.

The work draws on the tradition of vanitas still lifes – symbolic paintings focused on the transience of life – that became popular in the 16th century.

50ty/50ty is an online collection of limited-edition screen prints, created in collaboration with local artists, illustrators and designers. Representing the best of both established and emerging talent, each work is hand printed on archival paper and available for purchase exclusively on this platform.

Working with Wim Legrand and Jeanne Hoffman at Black River studio has been the highlight of my year. I especially enjoyed the part where I had to rack my brain to start thinking in several different colour layers, considering how each of the colours would interact as they overlapped. It has been very good to challenge myself in this way under the watchful eye of a master printmaker.

See more amazing prints at 50ty50typrints.com

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

CONTACT ART TIMES Tel: +27 21 300 5888 109 Sir Lowry Road, Woodstock, Cape Town PUBLISHER Gabriel Clark-Brown editor@arttimes.co.za ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA & EXHIBITION LISTINGS Jan Croft subs@arttimes.co.za ON THE KEYS Brendan Body ARTGO CONTENT info@artgo.co.za Rights: the Art Times magazine reserves the right to reject any material that could be found offensive by its readers. Opinions and views expressed in the sa art times do not necessarily represent the official viewpoint of the editor, staff or publisher, while inclusion of advertising features does not imply the newspaper’s endorsement of any business, product or service. Copyright of the enclosed material in this publication is reserved.

Errata: Hermanus FynArts - would like to apologise for omitting the name of Karin Lijnes from the list of artists who are exhibiting at Sculpture on the Cliffs - 2020. Her work, Freedom Tree comprises of a large steel mobile of five ceramic bird forms.

See more work by Adele van Heerden at adelevanheerden.com @ARTTIMES.CO.ZA

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M.O.L 14

ZOOM AND GLOOM OR WISHFUL THINKING? Ashraf Jamal

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have always enjoyed guiding viewers through the FNB Joburg Art Fair. As fairs go, it’s my favourite. The cliché holds true – Johannesburg is the country’s gateway to Africa – so when Nicole Siegenthaler invited me to participate once again, I immediately said yes, but of course this time would be different. No chummy smiles or glad handing, no beady-eyed poking about the intricate surfaces of paintings or slow rotations about sculptures, no perspective or ambient buzz. What makes an art fair a delight is the cheek by jowl variety. Art Fairs are souks, and if one enjoys cluttered variety, a boon. It is true they are overwhelming – where does not rest one’s eye? – but I’ve always enjoyed the challenge and exited pleased, if exhausted, because I discovered artworks I love.

For instance, at the Cape Town Art Fair in February – just before our national lockdown and the navel gazing and fret it still generates – I spotted a painting by Neo Matloga which immediately demanded my attention. Gently peeling myself away from the perfunctory art chat I was conducting – chatter plays a big role in art fairs, usually with overpriced glasses of plonk in hand – I ambled over.

What struck me about Matloga’s ‘painting’ – the artist’s description – though they seemed more collage to me, was its inventiveness.

His paintings were warm portrayals of everyday encounters in a lounge, on a porch, a celebration of the day-to-day lives of people which the great humanist, Njabulo Ndebele, has so persuasively championed in his book The Rediscovery of the Ordinary. Given the appalling stereotypes affixed to Africa as a begging bowl, s#!thole, zone of abjection or

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mayhem, Ndebele’s embrace of the rites of ‘ordinary’ humanity – against the conception of South Africa as a place of abject rage and ‘spectacle’ – is of particular relevance to the contemporary African art world.

The Canadian novelist, Michael Ondaatje, remarked that everything is genetic, everything collage. I love the connectedness this view supposes – that people are people because of other people – which is also the spirit of Ubuntu. The faces in Matloga’s paintings are made up of photographic fragments, a reminder that we are all composites. This take has a greater reach. If Steve Bantu Biko believed that Africa would give the world a ‘human face’, it is because he saw the continent’s strength, its generosity, zest, and, most of all, its ability to heal the world. This conviction is certainly evident in the offerings

by African dealerships and those further afield which focus on the African diaspora.

Painting dominated. Is this because it works best on screen, because its photogenic?

Surely. But one cannot dispute the fact, worldwide, that painting is back. The fact that it is easy to roll up and trade accounts for its appeal, even more so now that we are housebound, our transactions compromised. But I think it is the small and great pleasures painting affords which we now find irresistible. The British critic, Matthew Collings, speaks of ‘the inner life of painting’, which he distinguishes from its ‘subject matter’. ‘What Modernism teaches us [is] that the use of painting has in the end, if the painting is important … to do with its identity as a painting, and not the surrogate it offers through imagery, history, documentation and recording and so on, of various other experiences’.

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Michaela Younge, Caught red handed in the VIP Room, 2020, 42 x 43 cm, Merino wool on felt, Courtesy the Artist and the PLOT, Cape Town. Opposite: Tafadzwa Tega The Wait, 2020, 120cm x 130cm Oil on canvas, Courtesy the Artist and Gallery MOMO, Johannesburg, Cape Town.

Collings’ view stayed with me as I scrolled through the offerings at the Joburg Art Fair. What struck me was the vivacity and tenderness of much of the painting on offer. I fell in love with Joel Mpah Dooh’s naïve grace, Theresa-Anne Mackintosh’s quirky whimsy, Marcellina Akpojotor’s densely encrusted eloquence, and, especially, Tafadzwa Tega’s moody blue scenes depicting private vigils. But what struck me most was the overall sensibility which African painting in 2020 communicated to me of quiet, ease, effortlessness, warmth. In a time stricken by uncertainty and anxiety, it is heartening to see art which captures the best in us. If there is one irrefutable element which these artists and many others convey, it is the consolatory power of painting.

Another dominant seam is mixed media, the mashup of improbable materials – crockery, toothpicks, fake fingernails, wool, hessian, spray paint and oil paint, tin foil, amongst many others – in works by Stephanie Conradie, Chris Soal, Frances Goodman, Michaela Younge, Talia Ramkilawan, Cyrus Kabiru, Gresham Tapiwa, Sizwe Sibisi, and Donna Kukama who, in the title of one of her works adds ‘wishful thinking’ as a mixed media component. This is an inspired addition. Afterall, what is life and art without wishful thinking? Imagination?

Spirit? Wonder? Especially now, in this obscene man-made ‘Anthropocene’ age in which life is an extension of waste and not

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Donna Kukama, The Day Vanilla Decide She Was A Spice, 2020, 172cm x 172cm, Graphite, oil pastel, acrylic and wishful thinking on canvas, Courtesy the Artist and blank projects, Cape Town. Opposite Page: Neo Matloga, Nyatsi, 2020, 135cm x 165cm, Collage, charcoal, liquid charcoal, ink and oil stick on canvas, Courtesy the Artist and Stevenson, Johannesburg, Cape Town, Amsterdam.

the reverse? One need only look at the recent David Attenborough documentary on Netflix to be reminded of this disastrous fact, but what struck me while scrolling through the Joburg Art Fair offerings is the artists’ positive spin on waste, the desire to inoculate the earth by absorbing and transforming its ills. Conradie’s inspired use of crockery is a case in point. But so are the homespun materials which artists like Younge and Ramkilawan choose to work with, wool, cotton, needle and thread, and the comforting worlds they mirror. I can think of no better way to convey the importance of the magical and homely than through art.

‘If you could say it in words there would be no reason to paint’, Edward Hopper, a famously quiet man, remarked. It is inspiring to see Hopper’s spirit reincarnated in the paintings

by Ameh Egwuh. As Edgar Degas reminds us, ‘A painting requires a little mystery, some vagueness, and some fantasy? When you always make your meaning perfectly plain you end up boring people’. If Degas’ view remains pressing it is because we cannot live without mystery and fantasy. Despite the

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urgencies of our time, driven by fear and rage, life is unsustainable without it. Wishful thinking is our elixir and grail. And if mixed media artworks tell us anything, it is that this great human adventure is not only psychologically and spiritually vital, but that we cannot move forward without a zest for experimentation.

‘Art has no rules’, when stuck – innovate.

Photography too has its part to play. I delighted in Robin Rhode’s figure in flippers snarled in cord and Benji Reid’s wild antics. The ‘greats’ too are on display – David Goldblatt, George Hallet, Guy Tillim, but the work that astonishes me most is Mack Magagane’s mysterious portraits of roiling matter. There is a drama in Magagane’s photographs that is uncanny.

His nocturnal vision is comparatively rare in a culture of photography which traditionally, in the South African context, errs on the side of a daylight documentary realism. Robert Frank’s view supports this register – ‘There is one thing the photograph must contain, the humanity of the moment’. True. But what an artist defines as human is up for grabs. Wishful thinking … dream … everyday

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Wim Botha, Landscape with figure 2020, 150 x 228 cm, Carved encyclopedia (World Book), stainless steel, walnut, oil and acrylic on canvas, Courtesy the Artist and Stevenson, Cape Town, Johannesburg, Amsterdam

magic … matters too. Alfred Steiglitz shares Magagane’s view. ‘In photography there is a reality so subtle that it becomes more real than reality’, he says. This is certainly the case in the self-portraits by Zanele Muholi, the most celebrated South African photographer today.

A major retrospective of her work is currently on show at the Tate Modern.

One cannot conclude this musing on the Joburg Art Fair without a nod to sculpture. By no means dominant this year, it too plays its part. Wim Botha’s figure of Christ is a technical knockout, but so is the subtle work Percy Konqobe. The first is spectacular, the second modest, yet both are inspired by faith. ‘I saw the angel in the marble and carved until I set him free’, Michelangelo noted. It is this release one finds in the works by Botha and Konqobe.

But sculpture is not only the province of

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religion. As Henry Moore tells us, sculpture also helps people ‘to see what a wonderful world we live in’, and here I must note the golden sculptures – part fertility goddess, part stress ball – by ‘Goldendean’ – aka Dean Hutton – which delight in our fleshy mortality.

All in all, it is this great love and belief in life which the Joburg Art Fair gifts us. As Nicole Siegenthaler tells me, there has been much international online traffic and interest. This is for the good. But I must finally add that without Siegenthaler at my side – she in Joburg, me in Cape Town – weaving our conversation into yet another wishful fabric, this year’s guided tour wouldn’t be as pleasurable.

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UNTITLED, ART Miami Beach 2020.

Dennis Osadebe. Figures of Playful Rebellion. Online Viewing Room available: 2 - 6 December

Mandla Mavengere. On Golden Soil.

28 January - 19 February 2021

Christopher Moller Gallery www.christophermollerart.co.za; @christophermoller_gallery

THE RUPERT MUSEUM

Open Call to Artists

www.rupertmuseum.org

Details from the monumental 16 meter panel installation Colour Symphony, 1993 by Michéle Nigrini.

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n open invitation to all artists to take inspiration from the monumental piece in the Rupert Art Foundation Collection – COLOUR SYMPHONY by MICHÉLE NIGRINI completed in 1993.

This is an open call for responsive artworks to be submitted for possible inclusion in a group exhibition to be showcased in the Jan Rupert Art Centre, Graaff-Reinet, during the first quarter of 2021.

Colour Symphony was created by taking a Modernist approach to observe and explore the reactions of colours to each other, how

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scale can influence colour and marks, and how a combination of line, colour and form activates and creates energy and flow.

Initially displayed as a 16 meter strip comprising out of 395 panels of oil paint on chipboard.

Achromatic greys start and conclude the spectrum with a central feature that consist of 77 panels featuring a full colour spectrum of contrasts and mixes.

More information: www.rupertmuseum.org/ exhibition/open-call-to-artists/

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DENNIS OSADEBE Chistopher Moller Gallery www.christophermollerart.co.za

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o you remember how much fun it was to visit a playground as a child?

Nigerian mixed-media artist, Dennis Osadebe wants us to forget about our overwhelming adult responsibilities for a short while and transport us back to our care-free youth. In his upcoming online exhibition, ‘Figures of Playful Rebellion’, Osadebe’s sense of fun and humour enhance the viewing experience, whilst encouraging us to listen, nurture and respect the child within.

Originally from the vibrant, promising city of Lagos, Osadebe’s name is becoming internationally established through his innovative use of bold, bright and geometrically rich artworks. Osadebe’s style is a unique combination of digital processes, which he uses to create canvasses that are subsequently layered with acrylic paint.

Osadebe has a strong entrepreneurial foundation, which grants him insight to an ever-evolving art world. He encourages his viewers to reinterpret art from the continent of Africa by using constructive, stimulating and dynamic images and narration. Osadebe proudly coined the movement ‘Neo-African’ in opposition to the apathetic, overused phrase ‘African art’. Appropriate rebranding of traditions in a transforming world, that serve to enhance and empower creatives emanating from the African continent.

Osadebe’s distinctive artistic style has expanded and led him to explore and reinterpret indoor and outdoor personal spaces – the concept of new personal spheres since people are mostly indoors now. The ‘art audience’ who wouldn’t usually have connected or engaged with Osadebe’s works can now see themselves, their friends and their loved ones in these works.

Playhouse, archival pigment inks & acrylic on canvas - 153 x 125 cm

Breath Of Fresh Air (Swing), 76 x 76 cm, archival pigment inks & acrylic on canvas

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Carousel Ride, archival pigment inks & acrylic on canvas, 100 x 100 cm

Two Heads are Better than One, 153 x 125 cm, archival pigment inks & acrylic on canvas

‘Figures of Playful Rebellion’ will be visible as part of the UNTITLED, ART Miami Beach Online Viewing Rooms during the first week of December. It features six new mixed-media paintings, that engage play as the foundation of creative expression for the artist and contemplates how through play, we can bring together people, strengthen the community, and challenge apathy and injustices. In the works, we are introduced to young characters performing different forms of joyful action, such as swinging and playing with toys as we are asked to reflect on our own relationship with play as an asset for generating social change.

In creating this series, Osadebe unpicks ideas about the power of play for the potential of our future, and what shifts could come from an adventurous showcase of beliefs, to challenge feelings of hopelessness, as a result. Understanding play as an opportunity

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for escape, and an offer of contrast to the tone of protest, is done in stark contrast to what we have become accustomed to.

Osadebe utilises the raw universality that the act of play occupies, being an apparatus that is accessible to all. The artist transfers us back to our childhood to re-frame the power of this innate method of communication to think about real change, thus serving as a reminder that the future is worth playing for. - By Dennis Osadebe and Andrea Kemsley.

‘Figures of Playful Rebellion’ will be available for viewing on the Artland platform from the 2nd – 6th of December. Please contact the Christopher Moller Gallery, should you wish to receive the viewing information.

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INTROSPECTION Art of Contemporary Africa www.themelrosegallery.com

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he Melrose Gallery, in association with Sandton City, is pleased to present ‘INTROSPECTION – Art of Contemporary Africa’, a thought provoking group exhibition featuring established and emerging artists from the Continent of Africa.

Definition: Introspection is the examination of one’s own conscious thoughts and feelings.

In psychology, the process of introspection relies on the observation of one’s mental state, while in a spiritual context it may refer to the examination of one’s soul.

In an ambitious undertaking, whilst most art fairs and large exhibitions have been postponed or replaced by online presentations due to the impact of Covid-19, The Melrose Gallery in association with Sandton City, have decided to present this exhibition both physically and online.

The exhibition takes place in a large, 850 sq m, industrial space in Sandton City’s Diamond Walk and will run from 26 November until 30 January 2021. The space provides the perfect backdrop for a comprehensive display of Pan African Contemporary art and the high ceilings allow for monumental sculptures and large scale paintings and photographs.

Whilst every care will be taken to adhere to Covid-19 guidelines, the space is so large that it will allow people to browse and experience the works whilst practicing social distancing. The Pandemic has forced mankind to slow down and to spend time on ‘Introspection’ and the re-evaluation of what is most important to us.

Ronald Muchatuta Blackness III

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Mederic Turay, Sunshine and Shadows

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Papytsho Mafolo, Elegance (Rose)

Papytsho Mafolo, Ange

Elizabeth Balcomb, The Other

Many artists have been forced into long periods of self-isolation in their studios, which has resulted in powerful artworks impacted by their focus, mood and awakened sense of consciousness and enlightenment. The general public and collectors alike have gone through similar periods of confinement and adjustment and it is expected that this exhibition will bring a welcome respite to what has been a marked reduction in cultural activations.

The title of the exhibition ‘Introspection’ therefore speaks to this extraordinary period, but also to the idea that whilst an artist may be born in Africa, they are part of the global community and whilst their works may often involve a process of internal reflection their presentation and practice often does not confine to a preconceived idea of ‘African-ness’.

Certain artworks that were not created during this period have therefore also found themselves in the exhibition as their works and

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practice speak to ‘introspection’ and question the idea that all art created by Africans should have a unifying element that immediately identifies them as such.

Participating Artists: The exhibition includes Willie Bester, Gerald Chukwuma, Esther Mahlangu, Wilma Cruise, Pitika Ntuli, Elizabeth Balcomb, Philiswa Lila, Mederic Turay, Papytsho Mafolo, Edozie Anedu, Vusi Khumalo, Clint Strydom, Judy Woodborne, Alexis Peskine, Aza Mansongi, Ronald Muchatuta, Adejoke Tugbiyele, Restone Maambo, Gavin Rain, Ndabuko Ntuli, Denis Mubiru, Regi Bardavid, Christiaan Diedericks, Vusi Beauchamp, Paul Blomkamp, Andre Stead, Mark Chapman, Kevin Brand, Grace Da Costa, Paul du Toit, Louis Chanu, Arno Morland, Carl Roberts, Sfiso Ka-Mkame, Hussein Salim and others. craig@themelrosegallery.com www.themelrosegallery.com +27 83 777 6644

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SA LO N NI N E T Y O N E P R E S E N T S KIRSTEN BEETS. T PH I NEKLSOANNGDE SPTE A DCAH Y EO S ,F 2T0H2E0 .Y O E AI LR O ,N 2 0B2O 0 .A O RD I L. O N B O A R D .

KIRSTEN SIMS. GOODNIGHT NOBODY, 2020. MIXED MEDIA ON BOARD.

Souvenirs from Another Summer

WWW.SALON91.CO.ZA

Kirsten Beets 02.12 - 23.12.2020

RK CONTEMPORARY No Holds Barred – summer group exhibition 6 December 2020 – 31 January 2021 Riebeek Kasteel www.rkcontemporary.com

Judy Woodborne, Penumbra

Judy Woodborne, Dream Catcher

NO HOLDS BARRED is being held from the 6th of December to the 31st January at RK Contemporary in Riebeek Kasteel and will be exhibiting, salon-style, a number of established artists alongside emerging ones. Judy Woodborne and Hannalie Taute are two of the artists participating this year and encompass the myriad of talent that will be showcased.

She obtained her B.A.F.A from Michaelis School of Fine Art in 1988; an advanced Diploma in Printmaking awarded with Distinction in 1989 and was awarded her Master of Fine Arts Degree with Distinction from UCT in 1993. She currently runs her own printmaking studio, Intagliostudio teaching classes, workshops and curating exhibitions and projects.

Judy Woodborne is a printmaker and painter, whose work is inspired by a combination of creation mythologies of diverse cultures and her interest in natural science and the nature of matter. Her works immerse you into a fantastical world of rich layers and unexpected fusions, drawing you in with a sense of wonder and curiosity.

Woodborne considers herself to be “a traditional printmaker, working in an experimental manner” and has been described as a “symbolist” - implying that the creative process she employs comprises many layers.

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Part of the beauty of Woodborne’s works lies in her different approaches to traditional

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Judy Woodborne, Queen of the Night

mediums. The Queen of the Night is a large format paper construction with hand cut paper, linocuts constructed into a threedimensional paper sculpture. For Dreamcatcher, she used a traditional burin and graver on linoleum to engrave the work and the availability of linoleum enabled her to scale it to a larger format size as opposed to the restrictions of a wood-engraving.

Dream Catcher is inspired by the Three Fates of Mankind, represented as sisters Clotho, Lachesis and Atropos from Greek Mythology.

Clotho weaves the thread of life into existence, Lachesis measures the length of each thread of life and Atropos severs the mortal thread thus ending the life existence. Woodborne’s Dream Catcher interprets Lachesis as a

youthful woman wearing an extended and fanciful wig resembling threads or waves, her hair symbolic of the thread of life.

Woodborne’s works are striking and powerful and become even more so with insight into the symbolism and meaning behind the images.

Hannalie Taute (b. 1977) started her life’s journey in a small town called Fochville in Gauteng, South Africa. In 2000, she obtained a National Higher Diploma in Fine Art at PE Technicon (now the NNMU). Nine years ago, she started working with rubber and particularly repurposed rubber inner-tubes, and in 2012 she added embroidery to her list of preferred media.

Hannalie Taute, Do Dont, Cotton and acrylic thread and rubber 2020 111 x 90 cm. Opposite Page: Hannalie Taute with size matters.

“Different in their mediums yet similar in their impact: thought-provoking, moving, and powerful.”

Perhaps the central theme of Taute’s work is the repeated exploration of identity and relationships within her “paracosmic fantasy”.

As the creator of her own detailed, imaginary world, “art is some sort of interesting area where dysfunction is allowed”.

Taute’s work is in a constant state of evolution, which mirrors many of the ideas behind her art.

Her process is methodical and laborious, and the artwork depicts moments in time – capturing instances in which a non-traditional medium (in this instance, rubber) undergoes a violent process of change. She juxtaposes delicate cotton thread with industrial discarded inner tubes by embroidering items that can decay, such as flowers and flesh, with moments of violent disruption. The coarseness of the rubber is counteracted by the delicacy of the thread, but this is subverted, as often the stitching and composition of the rubber inner tubes are delicate, and the thread seems almost rough in its arrangement. The resulting organized chaos resembles our daily lives and external influences.

This is perhaps most striking in her more recent work, ranging from figurative and hybrid toy-like creatures to a variety of portraits as well as larger floral arrangements embroidered on rubber.

Pivotal to Taute’s process is her wish for the medium of the piece to interact with the subject manner in a way that forces the viewer to deeply engage and question the artworks.

She aims to create a moment of respite from the chaos while simultaneously illustrating it.

Both artists are locally and nationally acclaimed, different in their mediums yet similar in their impact: thought-provoking, moving, and powerful. www.rkcontemporary.com art@rkcontemporary.com 32 Main Street Riebeek Kasteel.

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NWU GALLERY

MPHO YA BADIMO Mamorena Senokwanyane & Kgalaletso Senokwanyane 9 December 2020 – 20 January

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e at the Underdawg strongly believe that our artwork is awe worthy and is set apart by its uniqueness and diversity. It embodies the essence of the world all over, we have artwork that appeals to people from all walks of the world. Our mission and vision is to have our artwork seen on an international platform. We aspire through the establishment of a modern day art museum to have our artwork seen by at least one person from each of the listed countries on the globe.

Our artwork ranges from an artistically created love letter (hand drawn in pen) that is over 20 years old and still in its original form to a depiction of the statue of liberty using glass beads. We craft have crafted and continue to craft artworks that convey a collidoscope of different nations, backgrounds and nationalities. All our work is handmade; we have artworks that have taken up to more than 9 months to complete and those that

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took a day to complete. More than 95% of our artworks are made from glass beads we use the beads in three different forms namely, full glass beads, coarse glass beads and glass beads in powdered form.

Mother and son handmade artwork using beads and mixed media. A hobby to an at home art gallery. During the year 2016 the now retired educator, 59-year-old Mamorena Senokwanyane, a creative by nature began this craft as a way to ease the stress from her job as an educator.

Her now 29-year-old son began to gradually gain interest the more she engaged in her craft, this compelled him to get onboard and in a dire attempt to mimic the way his mother crafted he ended up finding his own rhythm in the craft.

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Kgalaletso Senokwanyane, beads and mixed media

“Her now 29-year-old son began to gradually gain interest the more she engaged in her craft this compelled him to get onboard�

Mamorena Senokwanyane, Beads

Mamorena Senokwanyane, mixed media

Mamorena Senokwanyane, mixed media

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PRINCE ALBERT OPEN STUDIOS Art in the Heart of the Karoo

By Sue Savage www.princealbertopenstudios.co.za

Above: Artist-blacksmith, Kashief Booley. Opposite Page left to right, top to bottom: Land Art by Heleen de Haas.

Ceramicist, Sue Savage. Functional Art lamp by Pat Hyland. Deidre Maree in her studio. Louisa Punt-Fouche - Hermes (mixed media). Cobus van Bosch - Untitled (oil on canvas, 90x80cm, 2020)

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fter the disappointment of the June cancellation of Prince Albert Open Studios, the artists will be delighted to welcome visitors to their studios again from 7-10 January 2021, albeit with strict covid protocols.

Thirty artists and two galleries will be participating, an extraordinary number for a small town. Prince Albert Open Studios is an opportunity to have a window into the worlds of the artists, and understand their inspirations and processes, as well as to view their latest work.

What is it about Prince Albert, a small desert town but with constantly flowing water from the Swartberg, that attracts so many artists?

Does the environment inform their work?

And if so, how?

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When asked, responses are naturally varied.

Many come for the vastness of the Karoo landscape and the clear light, pure and unpolluted; there’s the freedom to be yourself, to explore wild places that awe and inspire, like the magnificence of the ancient prehistoric mountains of the Swartberg. Some love to forage for bones, pieces of metal, shards of pottery and glass, connections with the past, to include in their work.

For many it’s the simplicity of life in a quiet town, with its historical architecture and profusion of flowers, where the status symbols of city living are largely irrelevant. The artists’ works reflect of all these contrasting elements.

Above all, perhaps, it’s the support that people in small towns offer each other, that creates a sense of community and safety.

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Printmaker Joshua Miles in his studio

Creativity attracts creative people, and thus a community of artists “happens”, organically.

After all Prince Albert Open Studios is run by the artists for the artists.

At 6pm on Wednesday 6 January the Prince Albert Gallery (which has recently moved to a beautiful new venue) will host an opening to a group exhibition featuring a piece from each participating artist. Following this is a creative feast – four days of visiting artists in their studios, galleries, land art installation routes and labyrinths!

January 2021 Participants are: Cobus van Bosch, Collette Hurt, Deidre Maree, Di Johnson-Ackerman, Di Smith, Di van der Riet Steyn, Erika van Zyl, Gita Claassen, Heleen de Haas, Janet Dirksen, John O’Sullivan, Joshua Miles, Karoo Looms, Kashief Booley (Striking Metal), Kevin de Klerk, Louisa Punt-Fouche, Louis Botha, Mariana Botha, Mary Anne Botha, Pat Hyland, Philip Willem Badenhorst, Prince Albert Community Trust (featuring artists, Elcado Blom and Selwyn Maans), Rebecca Haysom, Sally Arnold, Sam

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Reinders, Sonja Fourie, Sue Hoppe, Sue Savage, Turid Bergstedt, Prince Albert Gallery, and Watershed Gallery.

Disciplines include painting, photography, printmaking, botanical fine art, sculpture, ceramics, assemblage, found objects, mixed media, collage, papier mache, jewellery design, letter art & calligraphy, land art, functional art, blacksmith/forging, weaving, handmade knives and kaleidoscopes.

Visit our website for more details and information about individual participants.

Dates: Thursday 7th - Sunday 10th January 2021 Times: 9am - 1pm & 3pm - 6pm Website: www.princealbertopenstudios.co.za Email: info@princealbertopenstudios.co.za Facebook: Prince Albert Open Studios Instagram: @prince_albert_open_studios Book your accommodation on wwwprincealbert.org.za www.princealbertaccomm.co.za

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THE KAROO

An exhibition of artist proofs by Joshua Miles

By Angela Miles

Boomweerkaatsing windpomp 46

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n this exhibition titled ‘The Karoo’ Joshua Miles is releasing his collection of artists proofs to show the journeys he has taken through this magical part of South Africa. It is a special place which draws people from all over especially artists who find inspiration in the landscape. Joshua has criss-crossed this part of the country for many years travelling with his family, treating every dirt road as an adventure, going up and down mountain passes and following the escarpments to discover the beauty of the area. This exhibition tells the story of these road trips...

Throughout his career Joshua has been working full time as an artist and printmaker. His main focus is limited edition reduction block prints, at first in woodcut and more recently in linocuts.

He produces limited editions of ten hand-made prints. Once the edition is sold out there can be no more prints - that is simply not possible with the reduction print technique.

He takes inspiration from this Japanese form of printmaking, and he is also conscious of the impressionist style of mark-making.

Because of his passion for working in this technique he works prolifically, and has built up a large collection of his own artist proofs.

An artist proof is a print taken in the printmaking process where the artist can see the current state of the image being worked. Joshua makes his proofs in order to test the colour and the cut before continuing with each layer of his printed edition. The proofs are as identical to the edition as a hand-made print can be.

Artists proofs normally belong to the artist and by convention the artist is not supposed to sell these with the numbered edition.

Art curators, collectors and historians view artists proofs as especially desirable because of their rarity and this value is often reflected in their price.

Swartbergpas aloes

Swartbergpas ingang

“Joshua is not the kind of artist who strives for a deep meaningful explanation behind his work, he prefers the work to speak for itself.�

Brandrevier hek. Opposite Page: Mud brick ruin

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Gifberg

Now Joshua is releasing his collection of artist proofs which have never had a chance to be shown together before as a retrospective of his working career to date. All of the proofs being released provide a rare opportunity for collectors and buyers to purchase that ‘one that got away’. So, if you remember that image of Joshua’s that you were too late to purchase from the limited edition, then here is one last chance...

Joshua is not the kind of artist who strives for a deep meaningful explanation behind his work, he prefers the work to speak for itself.

He is a landscape artist who loves to track the way light moves over the landscape.

What better landscape for capturing this but the vast Karoo.

The Prince Albert Gallery in the heart of the Karoo is the ideal showcase for this collection of work and is also the town where Joshua and his family currently live and call home.

The exhibition will open on Saturday January 2 2021 at 6pm and run until Sunday 22 February.

Please contact Brent at princealbertgallery@ gmail.com for the full catalogue of works which will be released nearer to the opening.

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Shell shocked

STAND EASY An exhibition of new work by George Coutouvidis

Prince Albert Gallery 16 December - 17 January 2020

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n his second solo exhibition at the Prince Albert Gallery, George Coutouvidis reveals a body of work that coheres like kin, like an extended family.

At Dirst glance, there appear to be fewer colonial subjects and scenes of war. We Dind portraits of royals ‘posing’ for the artist, we are introduced to individual sitters who invite us to engage; and we are transported to the canals of Venice. Carl Becker in his article in Art Times Dec/Jan 19 wrote “Survival, not the realityshow kind, but as in the trenches of World War 1, is a recurring theme. Fascinated by calamity and human folly, the artist’s mindset is more Goya, less the cool detachment of contemporary art.”

Familiar characters - the artists’s subjects – emerge from earlier paintings. “The End of MM” and “Here’s looking at You” are drawn from popular culture. The art history references (Goya, Delacroix, Titian, Gainsborough and Vermeer) are there, yet the tone is informal, more ‘cool’, more everyday.

Coutouvidis’ source material intrigues the viewer: do the visual media that pervade our living tell us who we are? His response is that he has no idea whether his content is relevant today.

In his remaking, Coutouvidis’ sources take shape as simpler forms. This body of work signals a stylistic shift: a ‘shorthand’ orders the painted surface. Outlines are sketched in almost throw-away brush marks.

“Pugs and Owners” with three sedate sitters and their dogs is painted in shorthand, and situated in colour. The violence in “The Lion Hunt” is rendered in short broken strokes. And in “Wow” the loosely brush-stroked triumphal arch steals attention away from the line-up of beauty queens.

MM, unframed oil on canvas, 580mm x 780mm

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Lion Hunt, unframed oil on canvas, 580mm x 700mm. Previous Page: Last stand, unframed oil on canvas, 660mm x 880mm

“It’s a wonderful thing to be in a painting – like millions of us artists around the world - and be happy about it.”

The artist builds up textured grounds with colour: compare “Pelican” with its ethereal colour and the darker, layered “Lion Hunt”.

His magical pictorial spaces are off-set by the economical use of strong colours , as in “Royal Family” with the sullen guy in the gorgeous pink suit.

The artist uses modulated grey glazes for luminous skies and watery foregrounds. In the Venetian paintings, the painted water can be either disturbed by splashes of paint, or deep and reDlective as in “The Inevitable”.

Throughout this collection it’s as if the subjects have found their way into the frame and are at home there. Coutouvidis says that he enjoys working within the painted frame “...it doesn’t go on and on. This is it. The frame contains everything.”

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In his article Carl Becker referred to how the artist will “erase and re-work a painting and stated “That ‘just –right-ness’ is about meaning as much as technique”. The painting, “The End of MM’” which shows Mickey lying supine in an open limo, was erased and reworked until it was “just right”. And the peachy foreground in “Las Meninas ‘Herself’“ steadies the princess holding centre-stage perfectly.

Asked about his creative process Coutouvidis added “It’s a wonderful thing to be in a painting – like millions of us artists around the world and be happy about it.”

“Stand Easy” on exhibi2on at the Prince Albert Gallery from 16 December un2l 17 January 2020

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S A L ON NINE TY O N E PR E SE NT S JE S S I C A BOS WOR TH S MI TH . S I M P L E P L E A SU RE S I I , 2020. GOU AC H E ON B OARD.

WH E N IT 'S H OT OUT A ND YOU W A N N A HA V E A G OOD T I M E em m a n ourse berry m ey er l en e ehl ers j essica bosw orth sm ith m arol iz e soutHw ood tara deacon WWW.SALON91.CO.ZA

16. 0 1 - 13. 0 2 . 2 0 2 1

THE DON QUIXOTE PORTFOLIO On show at Oliewenhuis Art Museum www.nasmus.co.za

The stone lithography press at Atelier le Grand Village. Opposite Page: Artists working in the studio at Atelier le Grand Village (clockwise from top left: Leon de Bliquy, Bambo Sibiya, Christiaan Diedericks, Pauline Gutter, Jan Vermeiren)

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liewenhuis Art Museum is pleased to announce that a recent donation, The Don Quixote Portfolio, will be on exhibition from 10 December 2020 to 21 February 2021. The portfolio was inspired

by Spanish writer Miguel de Cervantes’ novel ‘Don Quixote’ published in two parts - part 1 in 1605 and part 2 in 1615.

Illustrating selected quotations from Cervantes’ novel, which appear as printed sheets in the portfolio, it features the work of 16 artists and was printed at Atelier le Grand Village.

Atelier le Grand Village is a lithography studio located in the hamlet ‘le Grand Village’ in the Charente-Limousine area, in the south-west of France. The founder, Francis van der Riet, was born and grew up in the Eastern Highlands

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of Zimbabwe. He studied in Cape Town and has lived in France since 1988. The aim of the studio is to revive the art of lithography by inviting artists in residence from around the world.

Well known South African artists, namely, Diane Victor, Bambo Sibiya, Willem Boshoff, Jan Vermeiren, Leon de Bliquy, Christiaan Diedericks, and Pauline Gutter have printed at Atelier le Grand Village and contributed to the portfolio. Other South African artists that printed at the studio includes Mongezi Ncaphayi, Banele Khoza, Hanneke Benade and Themba Khumalo. The following international artists contributed to the portfolio: Michael Barnes, Sasha Bitzer, Corrine Forget, AnneCatherine Charbonnier, NINA Kovacheva, Patrice Lefèvre, Valentin Stefanoff, Suzanne Touvay and Francis van der Riet.

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Bambo Sibiya

Valentin Stefanoff

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Pauline Gutter

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Christiaan Diedericks

Francis van der Riet

Jan Vermeiren

NINA Kovacheva

Suzanne Touvay

The Quixote / Quichotte Portfolio was one of the first group projects of the studio. The idea was for a collection of artists that had previous residencies at the studio, to contribute to this portfolio, with the aim of showcasing the richness of lithography as a printing technique.

It also shows how artists personalise the technique, resulting in a rich variety of styles. The portfolio of 16 artworks, 39cm (h) x 36 cm (w) took around 5 years to complete.

From the start it was agreed with the artists that each would receive one edition of the portfolio and that the studio would donate editions to institutions in the countries where the artists came from. As the majority of the artists are South African, it seemed fair and appropriate to donate an edition to two institutions in South Africa. Atelier le Grand Village have already donated one edition to the Iziko South African National Gallery. Willem Boshoff suggested that the studio approach Oliewenhuis Art Museum, and the Advisory Committee gladly approved an edition to be accepted into the Permanent Collection. It was a wonderful opportunity to expand the collection and is in line with Oliewenhuis Art Museum’s objectives for the collection which include; ‘To collect, document, conserve and research works of art acquired through purchase, commission, bequest and donation.’

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Editions were also donated to the following collections: Bibliothèque Nationale de France, Victoria and Albert Museum, London and the Albertina collection, Vienna.

Oliewenhuis Art Museum is located at 16 Harry Smith Street, Bloemfontein. The visiting hours during Level 1 is from Monday to Friday between 09:00 and 15:00, Saturdays between 10:00 and 15:00 and closed on Sundays. Entrance is free and secure parking is available for visitors and for buses. A ramp at the entrance of the main entrance provides access for wheel chairs, while a lift provides access to the Permanent Collection display areas on the first floor.

For more information on Oliewenhuis Art Museum please contact the Museum at 051 011 0525 (ext 200) or oliewen@nasmus.co.za.

Stay up to date by following Oliewenhuis Art Museum on Facebook, Instagram and Twitter for all upcoming exhibitions and events.

For more information on Atelier le Grand Village please visit www.legrandvillage.net and follow all the happenings at the studio on Instagram (@atelierlegrandvillage).

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An exhibition of artist’s proofs

FAREWELL / HAMBA KAHLE, 2020 IS Art Gallery

By Hendrik Theron www.is-art-gallery.com

Above: Vernon Swart, Tankwaperd. Opposite Page: Johann Slee, Laat Sonneblomme

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s the year 2020 – perhaps in its revelation, and perhaps in its reverie – needs no introduction, similarly, there also needs no further support for our staunch desire to bid it a swift, unceremonious farewell.

With vigorous, searing brush-stokes, not unlike an artist vehemently re-using a battered old canvass, forcefully impressing upon it a “new” vision of what it ought to be, this year has been a tangible re-imagination of our world, and one that will leave a deep impression.

Whatever this year may have meant to us – the good, the bad, and the ugly – one thing stands as trite, it is now, and will forever be, history.

We find ourselves then on the cusp of turning over a new leaf, of starting anew and closing off a chapter we all otherwise wish we could have skipped.

That being said, we now venture into the unknown crevasses of the future. Humanity is inherently frightened of what lies ahead – in the darkness, beyond that shadow cast on the ground. Having braved the rigours of this year,

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however, and perhaps out of nothing more than hopeless optimism, we remain resolute and ready for any eventuality. As South Africans, we have a proven tenacity and spirit that is unmatched by any other nation. Time and time again, South Africans are knocked down and keep getting up, each time building stronger and stronger foundations. This resilience, while flowing like a golden thread through the many folds, creases, and corners that make up our celebrated rainbow-nation, also weaves its way into our art.

In Xhosa, “farewell” is expressed as “hamba kahle”, which translates literally to “go well” – this then, is an articulation of our natural inclination, irrespective of creed or culture, to follow-through a greeting with ceremoniously wishing upon one another good fortune and prosperity for what lies ahead. The phrase then resonates on an inherently South African level – “go”, referring to the inevitability of having to move on, whereas “well” refers to the resilient optimism which South Africans carry with them though any journey.

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David Kuijers, A good sense of place

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Cornelia Stoop, Jacket Casual

Juhlene Wagner-Moller, Ruigte

Ilse Nieman, The Experience of Existence

In true South African character, not only has our art braved the metaphorical storm, it has done so resoundingly undeterred and has moved from strength to venerable strength, claiming its stake between the pages of history. This, if nothing else, is deserving of celebration.

IS Art in its annual year-end group exhibition titled, Farewell / Hamba Kahle has brought together a dynamic and colourful selection of artists that have come to represent not only IS Art and its offerings over the years, but the very best that South African art and our rainbow-nation has to offer. IS Art presents these works from Strijdom van der Merwe, Wilma Cruise, Sharlé Matthews, Cornelia Stoop, Judy Woodbourne, Jacqueline CreweBrown, Helen Vaughan and Sarel Petrus, to name a few, in celebration of our shared journey – both past, present and future.

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We don’t know where the road will take us from here, yet we stand together – proudly South African.

The exhibition will run from 28 November 2020 to 31 January 2021 at IS Art, Stellenbosch and the Slee Gallery, Stellenbosch. The exhibition opening will take place on 28 November 2020, at 11h00.

For more information contact: gallery@isart.co.za / tel: (021) 883 9717 IS Art Gallery 29 Church Street, Stellenbosch, Western Cape Slee Gallery 103 Dorp Street, Stellenbosch, Western Cape

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BIRDS

IS Sculpture at Tokara Wine Estate

By Hendrik Theron is-art-gallery.com

Above: Alastair Barnes, Neddicky. Opposite Page: Otto du Plessis, Hornbill Woman

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ob Dylan is infamously quoted as having said that, “no one is free, even the birds are chained to the sky”.

Melancholic as the sentiment might be, this is a reality that manifests far too quickly in many of us, without its presence even being realized. If left unchecked, the four corners of our lives will creep steadily inward and ensnare us in a daze of the mundane – even absolute freedom, as it were, when taken for granted, can become one’s cage.

It is left to those individuals on the fringe, the artist – that oracle of emotion and maverick of expression – to keep pursuing acts of creative defiance, and to keep pushing the sky away. It is through the medium of art that we are able, but for a moment, to take flight – to escape and transcend the boundaries of our every-day perception. Art therefore has the ability to elicit within us a sensation akin to tangible flight – a supernatural feeling of weightlessness, and an out-of-body insight into what otherwise passes us by in a commonplace stupor.

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It is in this vein that IS Sculpture, in another celebrated collaboration with the Tokara Wine Estate, has postulated a summer exhibition, titled Birds, comprised of artists that defy the boundaries of what seeks to encage our perception. With vigour and ardour, whether in the study of the raw emotion that underlies artistic expression or the medium of expression itself, these artists weave epic narratives of our innermost struggle – absolute freedom cast against a self-created immure.

Birds includes artists such as Sarel Petrus, who needs no introduction for his intimate engagement with the avian form. Sarel creates work that resonate with a deafening tone the often sinister dance of our most cavernous emotions, which, when left to their own liberties, may come to define us. His sculptures are seared with indistinct impression of loveletters and tales of a romance otherwise forlorn, forgotten and shunned from the light.

His works are burnished with the remnants of a love that has taken flight – perhaps for good, or perhaps for bad.

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Sarel Petrus, Crossing 4

Wilma Cruise, Higgity pickety my black hen

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Alastair Barnes, Owl

Alastair Barnes, Peregrine Falcon.

Other staples from the IS Art Sculpture repertoire include Kobus le Grange’s prolific wood-sculpture, which has in and of itself become known for its defiance of form and neo-traditional allure. Wilma Cruise, Isabel Mertz and Marieke Prinsloo-Rowe are also featured as sculptors who elicit a whimsical and often nostalgic portrayal of playful emotions that transcend singularity and cut to the heart of our inner-child – where the fastidious observance of reality have not yet manifested. The exhibition further features the works of Alastair Barnes, Roberto Vaccaro and Johan Theron to name a few.

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Birds is a collection of sculpture that praise the liberation of emotion that art brings to the onlooker, and the artists’ role milling our perception and articulating the unidentifiable fragments of our being.

The exhibition will run from 6 December 2020 to 31 March 2021 at the Tokara Wine Estate.

For more information contact: gallery@isart.co.za / tel: (021) 883 9717 IS Art Gallery 29 Church Street, Stellenbosch, WC IS Sculpture Tokara Wine Estate, Helshoogte Road, Stellenbosch, WC

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5th Avenue Auctioneers

Walter Battiss (SA 1906 - 1982) Oil

Sat 5th & Sun 6th December Live online only Full Catalogue available on our website prior to the auction

5thAveAuctions.co.za

011 781 2040

stuart@5aa.co.za

404 Jan Smuts Ave Craighall Park, Sandton

Business Art News

STEPHAN WELZ & CO. www.swelco.co.za

Walter Whall Battiss (South African 1906 - 1982), Picking Flowers, R 200 000 - R 300 000.

Opposite Page: Norman Clive Catherine (South African 1949 - ), Cogitator, R 300 000 - R 400 000

2020 will go down in history as one of the most memorable years, filled with stories of survival, not just in terms of the Covid19 pandemic, but the economic fallout that followed. Stephan Welz & Co. wasn’t immune to the stresses of 2020, but has managed to come out the other end with a renewed energy and an exciting approach to auctions moving forward.

Our specialists have also had a year of ups and downs, and have made a huge effort to ensure that the highlights of the year in terms of art offerings weren’t overshadowed by a global pandemic, which was hanging over everyone’s heads. Luke Crossley and Suzanne Duncan, heads of their respective Fine Art departments in Cape Town and Johannesburg, have shared their highlights from 2020 below.

It has been a delight to watch the resilience of the art market throughout this year, and we are enjoying a general move towards embracing digital platforms and allowing them to become a more accepted form of art practice. While the digital realm has been a part of the auction world for a while, it is now becoming a core aspect of the way Stephan Welz & Co. is presenting South Africa’s art to the world.

Suzanne Duncan, Cape Town: “It has been a very tumultuous year to say the very least, with trends in the auction world seemingly changing from month to month.

One of my highlights of this unusual year was witnessing our team pulling together to ensure that we held our auctions regularly and that our offering of items across all of our departments remained strong.

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One of the aspects that I am personally very proud to have been involved with is the inclusion of a number of artworks by the German expressionist A.R Penck, throughout all of our Cape Town based auctions in 2020. Penck witnessed a long career, beginning in East Germany, where influential allies saw potential in the artist and would assist him in smuggling his work into the west. The artist passed away in 2017 and since then the demand for his work on the auction market, coinciding with a number of retrospective exhibitions, has increased.

The works we have offered by this artist have included early drawings where the artist was still using his given name Ralf Winkler, before he changed to a variety of synonyms to confuse the East German police; as well as collaborative, mixed media works produced at a time where he was part of the artist’s collective Lücke TPT. Penck also uses an interesting technique where he screenprints the same image onto a number of canvases (which he does not edition) and then paints over each work, so that no two works in the series are alike. Our most recent example of this technique sold on our October Auction for R 638 550. The majority of our A.R Penck artworks boast Galerie Frank Hänel as their original provenance. I feel privileged to have consigned and sold so many A.R Penck artworks this year, especially as we are the only auction house in South Africa to offer the work of this fascinating artist.

A list of art highlights for 2020 would not be complete without mentioning the work Norwegian Landscape by Edvard Munch which we offered in our August Auction. The highly sensitive etching was the first artwork created by the artist after his nervous breakdown in 1908 and is a testament to the courage of a soul in a state completely undone yet still compelled to create and record their experience. We believe that this print was the first work by the artist to be offered by an auction house in South Africa”.

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Luke Crossley, Johannesburg: “There are a few things that stand out as highlights for me this year. It was really special to handle a collection of early editions by John Muafangejo that were offered on our April sale.

It is always a pleasure to handle works by the artist that are still in their original full sheet size and have been so well preserved, and were accompanied with a wonderful provenance.

Through the process of working with these prints, we were able to explore more about the artist’s history and present collectors with an in-depth contextualisation for a perhaps slightly neglected artist.

Andy Warhol Vesuvius, which was offered on our most recent Johannesburg sale, was certainly one of the highlights of the year. It’s not everyday that we, as art specialists, get to handle a work by such an internationally renowned artist. It was fantastic to see the layering of techniques, textures and colours when examining the piece outside of its frame, and it was even more exciting to see the work’s successful sale on auction. We were also lucky enough to handle a wonderful Skotnes work on the same sale. This was a truly awe-inspiring piece, still housed in the artist’s original carved frame, and featured a wonderful combination of painting and carving. The size of this piece alone made it a spectacular addition to our list of highlights.

Working with the Salvador Dali pieces throughout the year has also been most memorable— the history and technique behind the works illustrating Dante’s “Divine Comedy” has been fascinating, particularly in terms of the history origination and execution of this mammoth project. It has been a pleasure to handle these works this year and more so, watch the art market adapt to a new art world”.

We are still eagerly awaiting our final sale of 2020, which will be beginning on the 7th December, and we are excited to see many wonderful pieces go under the hammer. We are hoping for a successful sale with highlights including a charcoal drawing by William Kentridge, multiple sculptures by Norman Catherine and an eye-catching oil work by Walter Battiss. We are confident that our final sale of the year will reflect our unwavering art market and loyal client base and that we will end this topsy-turvy year on a high.

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Edoardo Villa (South African 1915 - 2011), Abstract, R 150 000 - R 200 000. Opposite Page: William Joseph Kentridge (South African 1955 - ), Poggio Al Topo + Liviol House May 1993, R 300 000 - R 500 000

Business Art News

STRAUSS & CO

Strauss & Co’s NORTH/SOUTH sale topped by Irma Stern, but new trends emerge www.straussart.co.za

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rivate and institutional bidders from over 20 countries on five continents participated in Strauss & Co’s first-ever dual-city marquee sale, NORTH/SOUTH, which concluded on 11 November with sales totalling R98,9 million from 633 lots sold achieving a 72% sell-through rate and three new world records. Held concurrently in two locations, Cape Town and Johannesburg, the multi-day sale attracted a mix of online, telephone and in-person bidders drawn by the firstrate consignment of collectable art, fine wines, decorative arts and jewellery.

Auction bellwethers J.H. Pierneef, Alexis Preller and Irma Stern performed reliably well, as did lots by William Kentridge, Sydney Kumalo, Stanley Pinker, Penny Siopis and Jean Welz. But the sale also saw strong performances by contemporary painters such as Phillemon Hlungwani, Simphiwe Ndzube, Mustafa Maluka (achieved a new world record) and Bambo Sibiya, pointing to the emergence of new collectors in the secondary market.

Frank Kilbourn, Strauss & Co chairperson commented after the sale: “NORTH/ SOUTH was conceived in response to the extraordinary times of 2020, when new hybrid ways of doing business have become the norm. The programming of this ambitious sale included sessions introducing new artists and new media, as well as sessions presenting innovative approaches to showcasing our offering. A quarter of our lots went to new buyers, which is very impressive and meaningful. The fact that so many of the more expensive works on offer went to new and/or less well-known clients is also a positive takeout from this sale, which was held in difficult economic circumstances. Our results point to a renewal among collectors, but also continuity in the age-old tradition of collecting.”

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Irma Stern, Still Life of Dahlias in a Vase with a Basket of Apples, oil on canvas 55 by 50cm, SOLD R 3 983 000

Irma Stern scored well in the tally of top lots, with three of the highest-earning lots in NORTH/SOUTH produced by this acclaimed expressionist painter. Well known for her still lifes, two top works in this genre – painted in 1937 and 1945 – earned just short of R4 million each. Still Life of Dahlias in a Vase with a Basket of Apples was consigned by the Tasso Foundation Collection of important South African art assembled by the late Giulio Bertrand of Morgenster, as was Stern’s 1927 portrait of a Swazi woman, which sold for R2.8 million.

Other highlights from the Tasso Collection included Stanley Pinker’s sensuous figure painting The Bathers, sold for R1 million; Alexis Preller’s tropically themed The Red Pineapples, sold for R1.25 million; William Kentridge’s composite drawing Tree, sold for R1.1 million; and Zimbabwean sculptor Tapfuma Gutsa’s stone piece Birth of the Zambezi, sold for R193 460. Several impressive works from private single-owner collections went under the hammer in NORTH/

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Previous Page: Mustafa Maluka, Right You Are (If You Think You Are), acrylic and oil on canvas 184 by 133,5cm, SOLD R 569 000.

Above: Jacob Hendrik Pierneef, Kaap Bloubergstrand, oil on artist’s board 43,5 by 58,5cm, SOLD R 2 617 400.

Opposite Page: Alexis Preller, Thrones of Heaven, oil and gesso on canvas 101,5 by 86,5cm, SOLD R 2 845 000

SOUTH, including Sydney Kumalo’s Madala I, a special highpoint of South African modernist sculpture, consigned by the Late Desmond Fisher Collection and sold for R1.82 million achieving a new world record for the artist.

de Vogue and Domaine de la Romanee-Conti – all consigned by a single private owner. A definite highlight was the single bottle of 2015 Echezeaux from hallowed producer Domaine de la Romanee-Conti, which sold for R51 210.

J.H. Pierneef and Alexis Preller drew consistently strong bids. Three telephone bidders vied for Preller’s late-period abstraction Thrones of Heaven, but were ultimately beaten by an online bidder who entered the fray at the last minute and clinched the work for R2.8 million. NORTH/SOUTH witnessed vigorous bidding throughout for Pierneef, with a 1934 Cape marine landscape of Bloubergstrand emerging as the top piece, fetching R2.6 million.

“Being well aware of a small captive market for these highly niche wines locally, we are very satisfied with having achieved a sell-through rate of above 80% with this unique and ground-breaking sale,” says sommelier Higgo Jacobs, who initiated the fine-wine sale with Roland Peens of Wine Cellar in partnership with Strauss & Co.

NORTH/SOUTH commenced on 8 November with a session devoted to fine wine. The offering comprised a superb collection of 19 iconic domaines from Burgundy and the Rhône – including the likes of Domaine Armand Rousseau, Domaine Comte Georges

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NORTH/SOUTH featured a number of formal innovations, including a special focus on contemporary South African ceramics. One of the highlights of the busy New Collector session was John Newdigate and Ian Garrett’s Birds Feeding, a large and colour-rich porcelain vessel decorated with animal motifs, which went to a Cape Town telephone bidder for R182 080 after a flurry of bids.

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Another important innovation was Interiors, a session featuring a curated selection of Cape, English and European furniture and collectable silverware interspersed with fine examples of 20th-century South African painting. Under the experienced eye of Vanessa Philips, Strauss & Co’s joint managing director, the session aimed to highlight the total experience of collecting. A highlight from the furniture offering was a remarkable walnut pipe cabinet by Alfred Dunhill, which fetched R477 960. The sale also included two rare René Lalique ‘Source de la Fontaine’ glass figures which sold for R341 400 each.

The ceramics session saw healthy prices paid for important pieces by Hylton Nel, including a generous R73 970 for his glazed earthenware piece Flower Cat. Two green-glazed hares by Nico Masemola, a former apprentice of Nel, sold for R62 590. Masemola’s output was cut short by his premature death in 2015 and is now highly sought after.

Strauss & Co senior art specialist Wilhelm van Rensburg spearheaded this wide-ranging showcase of ceramics. The offerings included lots by established figures like Esias Bosch and Bonakele Ntshalintshali, as well as rare pieces by artists Deborah Bell, Robert Hodgins, William Kentridge and Hannatjie van der Wat. “The sale confirmed the reputation of pioneers like Noria Mabasa and Nesta Nala and contemporaries like Ruan Hoffmann and Ian Garrett, whose work skilfully reinterprets indigenous stoneware techniques,” says Van Rensburg.

Susie Goodman, an executive director at Strauss & Co says: “The Strauss & Co team really pulled out all the stops to put together a representative showcase of ceramics by a wide range of ceramicists active over the last half century. At one point during the ceramics sale we had 673 active bidders. They included private individuals as well as reputable institutions, which is a fantastic endorsement of the quality of our offering.”

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Among the highlights of the art offering in the Interiors session were Anton van Wouw’s Massa foundry bronze Dagga Smoker, which sold for R1 million, and a trial proof of William Kentridge’s hand-coloured etching Dutch Iris, which achieved R1.25 million. An enigmatic still life depicting brilliant red pelargoniums

by J.H. Pierneef drew considerable attention.

Being the only known example of a still life with flowers by this acclaimed landscape painter, the work attracted a number of bidders and was sold for R796 600.

The Interiors session was preceded by a session featuring jewellery and oriental works of art. A necklace composed of a series of graduated pear-shaped diamonds sold for R1.1 million. Interest in historical Chinese objets remains strong: a pale celadon jade snuff bottle from the Qing dynasty sold for R54 624.

Frank Kilbourn says: “I was encouraged by the enthusiastic response to our new ceramics and interiors sessions, both of which were new innovations and formed part of our broader mission at Strauss & Co to cultivate new collectors and introduce new ideas. It is no secret that it is currently a buyer’s market, but this sale showed that there will always be appetite for first-rate collectables, whatever the economic situation.”

Irma Stern, Swazi Woman, oil on canvas laid down on board 51,5 by 39cm, SOLD R 2 845 000

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A Good Read

PASTURES NEW Why some top gallery staff are moving on from longtime jobs

Published in The Art Newspaper 19th November 2020

By Melanie Gerlis

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ersonal Gmail accounts have been reactivated as some experienced gallery staff are either unexpectedly looking for work or seizing the (pandemic) day to try something new. Among the latter, recent senior level departures include Gary Waterston, at Gagosian gallery for 18 years and latterly as its managing director for Europe; Graham Steele, a partner at Hauser & Wirth and a force in its Los Angeles gallery; and Lock Kresler, a senior director at Lévy Gorvy and at the helm of its London outpost.

The circumstances of each departure are of course different, but uniting this trio is a sense that the introspection and out-of-office time afforded by the Covid-19 pandemic have forced a rethink. Kresler, who started at Lévy Gorvy in 2014, and just a week before his first child was born, feels that the London gallery has grown into a “more self-sufficient and larger operation” and that working from home distilled the need to strike a different balance.

“Now I have two kids and want more flexibility,” he says—though he and Waterston are keeping their next moves close to their chests.

The chances are—as with Steele, who is starting a new private dealership—that neither is going to another traditional gallery role. The industry’s already-strained needs changed overnight once lockdowns struck. While in the Before Time, galleries needed as many staff as possible—to juggle art fairs, multiple installs and plenty of client entertainment—these aren’t coming back soon. Neither, on reflection, do they add up to a well-balanced life.

What hasn’t changed is a broad appetite for art. “The growth that everybody became so comfortable with will just manifest itself

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differently,” says Waterston. He compares the art market favourably with more challenged industries such as hospitality.

It is optimistic, but there’s comfort to take from this right now. Just as after the last economic crisis, out of which the art adviser industry seemed to grow, an entrepreneurial spirit is emerging from the Covid crisis. Graham Southern, who left Blain Southern last year (before the gallery he co-founded went into administration and shut down), has started an artist management business, a relatively untapped area that many think will grow more.

“I didn’t predict the pandemic, but this seems even more relevant since,” Southern says.

Digital advances will also not disappear in the After Time and will create opportunities for those who can harness and adapt them best.

The latest Art Basel & UBS Art Market Report found that, on average, a third of the 795 galleries surveyed cut their staff in the first six months of 2020. Separate research by UBS’s Global Wealth team has also found a surge in new business formation in major economies around the world, including in the US, where business registrations are up 14% compared to the same period last year. This, the bank finds, is not just about finding something to do, but represents a gauge of economic confidence.

We’ve been thrown a curve ball, and not every new idea is going to fly. But crises disrupt industries, throw out accepted norms to make way for new, entrepreneurial models— particularly when married with long experience.

Right now, fortune favours the brave.

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A Good Read

MARY WOLLSTONECRAFT People see only ‘silver tits’ and ‘bouffant pubes’ now—but I predict Mary Wollstonecraft sculpture will become widely admired.

Published in The Art Newspaper 17th November 2020

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ne of the iron rules of art history is that the more derided a work of art when first exhibited, the more celebrated it will become. They laughed at Monet’s Impression, Sunrise (1872) when it was first shown, and the term “impressionist” was originally intended as an insult. But even Monet might have struggled to cope with the fury unleashed on Maggi Hambling for her Sculpture for Mary Wollstonecraft.

On paper, a statue of “the mother of feminism” by one of Britain’s leading female artists must have seemed a guaranteed success. But rarely has a statue been so criticised at its unveiling. The amorphous base surmounted by an idealised female nude was too complex for today’s world of instant judgement. People saw only “silver tits” and “bouffant pubes”. Criticism ranged from the obvious—“it doesn’t look like Wollstonecraft”—to the affronted: “you never see Charles Dickens with his balls out, do you?”

However, I wouldn’t write it off yet. These days even backlashes get a backlash, and more are now seeing the statue’s merits. If Sculpture for Mary Wollstonecraft does become more widely admired, then I claim my place among those who declared that “actually, they always quite liked it”. Certainly, the silvery colour takes getting used to—it looks as if Goldfinger has been experimenting with cheaper ways to kill— but a few years of London pollution will help it acquire some much-needed patina.

The furore over the statue’s nudity took me by surprise. Clothes rarely work on a statue; it’s why the ancients preferred their marbles naked, or clad only in the simplicity of a toga. A statue of Charles Dickens with his balls out—and we can deduce from his ten children that they often were—would have much to admire. Nor

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is nudity in British public sculpture new; the first nude public statue in Britain, Achilles, was erected in Hyde Park in 1822 (it was paid for by the “Ladies of England”, who evidently had no qualms about the nudity, although after some debate they did vote for a fig leaf).

What I like about Hambling’s figure is that it is nude, but not erotic. Wollstonecraft would have recognised the honesty of Hambling’s focus. “For man and woman,” she wrote in The Vindications of the Rights of Women (1792), “truth… must be the same; yet the fanciful female character, so prettily drawn by poets and novelists, demanding the sacrifice of truth and sincerity, virtue becomes a relative idea, having no other foundation than utility, and of that utility men pretend arbitrarily to judge, shaping it to their own convenience.”

Naked, stripped of outward signs of wealth and privilege, we are all equal.

If 2020 has taught us anything about statues, it is that a statue is now about much more than just itself. What matters is the context and controversy it creates. The age of statues as commemorations of Dead Historical Personage staring into the distance, ignored by all who walk past it, is over. Today’s statues must be works of performance art, able to pierce the boundary between the physical space and the digital. It is because Sculpture for Mary Wollstonecraft is so eccentric that more people are talking about Wollstonecraft than at any time since the 19th century. For the group who commissioned the statue, Mary on the Green, it is £143,000 well spent. We will have to wait and see if art history comes to the same conclusion.

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ARTGO DEC/JAN 2020/1

ONGOING SHOWS AND OPENING EXHIBITIONS

Blackness III, Ronald Muchatuta

DECEMBER 2020 - AUG 2021

ONGOING SHOWS

DEEPEST DARKEST GALLERY CONFESSIONALE FEATURING HENK SERFONTIEN, MARIEKE KRUGER & WILMA CRUISE. UNTIL 05/12/2020 WWW.DEEPESTDARKESTART.COM

131//A//GALLERY ASSIMILATE GROUP EXHIBITION UNTIL 11/12/2020 WWW.131AGALLERY.COM

ART@AFRICA AFRICAN PENGUIN INVASION UNTIL 19/02/2021 WWWARTATAFRICA.ART

THE MELROSE GALLERY JHB DR ESTHER MAHLANGU - 85 UNTIL 20/12/2020 VIEWING ROOM ON WEBSITE WWW.THEMELROSEGALLERY.COM

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FINE ART AFRICA ONLINE GENESIS ONLINE VIRTUAL EXHIBITION RACHELLE BOMBERG UNTIL 01/01/2021 WWW.FINEARTAFRICA.ONLINE

GOODMAN GALLERY JHB TO LIVE LONG IS TO SEE MUCH CASSI NAMODA UNTIL 16/01/2021 WWW.GOODMAN-GALLERY.COM

GOODMAN GALLERY CAPE TOWN SOFT ARCHITECTURES GROUP EXHIBITION UNTIL 16/01/2021 WWW.GOODMANGALLERY.COM

THE VIEWING ROOM ART GALLERY AT ST LORIENT BEIGE SOLO EXHIBITION - ANDRÉ NAUDÉ UNTIL 16/01/2021

WWW.STLORIENT.CO.ZA/THE-VIEWING-ROOM/CURRENT-EXHIBITIONS

Rebecca Haysom, The Enchanted Skirt, mixed media on paper, 2017, Prince Albert Open Studios

DECEMBER 2020 - AUG 2021

ONGOING SHOWS

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THE GALLERY AT GLEN CARLOU SUMMER SALON A GROUP EXHIBITION UNTIL 24/01/2021 WWW.GLENCARLOU.COM

ART@AFRICA A PARADOX OF HUE CAELYN ROBERTSON UNTIL 21/02/2020 WWW.ARTATAFRICA.ART

“FAREWELL / HAMBA KAHLE 2020” GROUP EXHIBITION UNTIL 31/01/2021 VENUE: IS ART GALLERY, 29 CHURCH STREET, STELLENBOSCH AND SLEE GALLERY, 103 DORP STREET, STELLENBOSCH WWW.IS-ART-GALLERY.COM

THE MELROSE GALLERY INTROSPECTION ART OF CONTEMPORARY AFRICA GROUP EXHIBITION UNTIL 31/01/2021 WWW.THEMELROSEGALLERY.COM

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Art, antiques, objets d’art, furniture and jewellery wanted for forthcoming auctions

Walter Whall Battiss, watercolour on card SOLD R 40,000 View previous auction results at www.rkauctioneers.co.za

011 789 7422 • 011 326 3515 • 083 675 8468 • 12 Allan Road, Bordeaux, Johannesburg

Eclectica Contemporary. Kagiso Reuben, Youth League, 2020, oil on panel, 30,5 x 40,6 cm

DECEMBER 2020 - AUG 2021

ONGOING SHOWS

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FINE ART AFRICA ONLINE CONCEPTUAL COLLECTION BESSIE VERMEULEN 01/09/2020 UNTIL 01/02/2021 WWW.FINEARTAFRICA.ONLINE

RUST-EN-VREDE GALLERY RELATIONSHIPS – SOLO EXHIBITION

BY ADELA FRIEDMANN UNTIL 03/02/2021 WWW.RUST-EN-VREDE.COM

RUST-EN-VREDE GALLERY RUST-EN-VREDE RESCUE FUNDRAISING EXHIBITION UNTIL 03/02/2021 WWW.RUST-EN-VREDE.COM

THE RUPERT MUSEUM SCIENCE MEETS ART ART ADDRESSING STIGMA IN ILLNESS GROUP EXHIBITION UNTIL 21/02/2021 WWW.RUPERTMUSEUM.ORG

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The Artist Proof Studio. Samantha Maseko, The Cradle Of Womenkind, 50x99,5cm, Llinocutr, 2020

Walter Battis

DECEMBER 2020 - AUG 2021

ONGOING SHOWS

ARTS TOWN RIEBEEK VALLEY AMPHITHEATRE SUMMER THEATRE SEASON NOVEMBER 2020 - MAY 2021 WWW.ARTSTOWN.CO.ZA

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THE RUPERT MUSEUM THE STILL FROM LIFE NATURE MORTE UNTIL 29/08/2021 WWW.RUPERTMUSEUM.ORG

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The Heather Auer Art Studio Visit us at Glencairn, Simonstown (By Appointment Only) South Africa: +27 (0)82 779 2695 / Email: info@heatherauer.com www.heatherauer.com

05 | 12 | 2020

DECEMBER 2020 - FEBRUARY 2021

OPENING EXHIBITIONS

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CHRISTOPHER MOLLER GALLERY FIGURES OF PLAYFUL REBELLION DENNIS OSADEBE 02/12/2020 UNTIL 06/12/2020 WWW.CHRISTOPHERMOLLERART.CO.ZA

EBONY/CURATED CAPE TOWN NOWHERE BETTER TO BE SOLO EXHIBITION

BY CRAIG CAMERON-MACKINTOSH 02/12/2020 UNTIL 31/01/2021 WWW.EBONYCURATED.COM

ART@AFRICA MUTE WISDOM ANDRIES VISSER 03/12/2020 UNTIL 03/02/2021 ARTATAFRICA.ART

ECLECTICA CONTEMPORARY REST SUMMER GROUP EXHIBITION 03/12/2020 UNTIL 29/01/2021 WWW.ECLECTICACONTEMPORARY.CO.ZA

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EVERARD READ CAPE TOWN NEILL WRIGHT TO ANYWHERE AND NOWHERE 03/12/2020 UNTIL 31/12/2020 WWW.EVERARD-READ-CAPETOWN.CO.ZA

ARTIST PROOF STUDIO I/24 = (UN)MASKED AN EXHIBITION OF PRINTS BY APS 3RD YEAR STUDENTS 05/12/2020 UNTIL 29/01/2021 WWW.ARTISTPROOFSTUDIO.CO.ZA

IS SCULPTURE BIRDS EXHIBITION OPENING: 6 DECEMBER 2020 AT 11H00 UNTIL 31/03/2021 VENUE: TOKARA WINE ESTATE, HELSHOOGTE ROAD WWW.IS-ART-GALLERY.COM

RK CONTEMPORARY NO HOLDS BARRED SUMMER GROUP EXHIBITION 06/12/2020 UNTIL 31/01/2021 WWW.RKCONTEMPORARY.COM

Rust-En-Vrede Gallery.

Bastiaan van Stenis, Shades from Another Moon, 50 x 40 cm, Mixed Media on Canvas

DECEMBER 2020 - FEBRUARY 2021

OPENING EXHIBITIONS

RK CONTEMPORARY NO HOLDS BARRED GROUP EXHIBITION 06/12/2020 UNTIL 31/01/2021 WWW.RKCONTEMPORARY.COM

NWU GALLERY MPHO YA BADIMO MAMORENA SENOKWANYANE & KGALALETSO SENOKWANYANE 09/12/2020 UNTIL 20/01/2021

WWW.SERVICES.NWU.AC.ZA/NWU-GALLERY/WHAT-SHOWING

SOLO STUDIOS INTIMATE ART ENCOUNTERS 18 RIEBEEK VALLEY STUDIO ARTISTS COMPLEMENTARY FRINGE ACTIVITIES, ENTERTAINMENT AND 11 GROUP EXHIBITIONS 11/12/2020 UNTIL 13/12/2020 WWW.SOLOSTUDIOS.CO.ZA

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THE CAPE GALLERY DAVID KUIJERS AND TANIA BABB 14/12/2020 UNTIL 24/01/2021 WWW.CAPEGALLERY.CO.ZA

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PRINCE ALBERT GALLERY STAND EASY GEORGE COUTOUVIDIS 16/12/2020 UNTIL 17/01/2021 WWW.PRINCEALBERTGALLERY.CO.ZA

PRINCE ALBERT OPEN STUDIOS ART IN THE HEART OF THE KAROO LOOK OUT FOR THESE BLUE BOARDS THAT WILL HELP YOU LOCATE THE ARTIST STUDIOS 07/01/2021 UNTIL 10/01/2021

WWW.PRINCEALBERTOPENSTUDIOS.CO.ZA

THE PRINCE ALBERT GALLERY THE KAROO JOSHUA MILES 02/01/2021 UNTIL 22/02/2021 WWW.PRINCEALBERTGALLERY.CO.ZA

THE GALLERY AT GLEN CARLOU JOGGIE / JOCKEY – LAST YEAR A DJ SAVED MY LIFE A SOLO EXHIBITION - ALEX HAMILTON 10/01/2021 UNTIL 21/02/2021 WWW.GLENCARLOU.COM

DECEMBER 2020 - FEBRUARY 2021

OPENING EXHIBITIONS

CHRISTOPHER MOLLER GALLERY ON GOLDEN SOIL

BY MANDLA MAVENGERE 28/01/2021 UNTIL19/02/2021 WWW.CHRISTOPHERMOLLERART.CO.ZA

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BAZ-ART INTERNATIONAL PUBLIC ART FESTIVAL LOCATION: SALT RIVER, CAPE TOWN 10/02/2020 UNTIL 14/02/2020 WWW.IPAFEST.CO.ZA

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Sandile Goje: Meeting of Two Cultures, linocut, 1993. 35 x 50 cm, R24 000

Alma Vorster: Serenade in Masquerade II, Etching, 1998. Etching 35 x 44, R 18 000

SA Print Gallery We buy, take on consignment prints from classic masters including Battiss, Boonzaai, Botes, de Jong, Goldin, Kannemeyer, Kay, Pennington, Seneque, Muafangejo, Skotnes, Spilhaus and more 109 Sir Lowry Road, Woodstock, Cape Town Tel 021 300 0461 gabriel@printgallery.co.za www.printgallery.co.za

NOW INVITING CONSIGNMENTS

for our March 2021 marquee sale Modern, Post-war and Contemporary Art Entries close mid-January 2021 021 683 6560 | ct@straussart.co.za www.straussart.co.za

Sydney Kumalo Madala I (detail) Sold R1 820 800 WORLD RECORD FOR THE ARTIST