SA Art Times May Edition 2018

May 2018 WWW.ARTTIMES.CO.ZA

In the PPC Imaginarium, concrete is the inspiration, the stimulus and primary medium for revolutionary design thinking and artistry across 6 creative disciplines.

It's a showcasing of innovation through art and design, where the beauty and versatility of concrete is celebrated, and where emerging talent is recognised and rewarded.

The overall winner stands a chance to win R150 000 ON-LINE REGISTRATIONS NOW OPEN until 30 November 2018 www.ppcimaginarium.co.za

CONTENTS May 2018 18 Nourhan Maayouf 2016 Absa L’Atelier winner headed to SA for solo exhibition 22 Stellenbosch University Museum 100 Forward? Forward! Forward 26 Sasol New Signatures Art Competition 2018 – #Limitless 20 PPC Imaginarium Urban soccer wins the country’s most supportive art and design prize 36 Kate Gottgens Hermanus FynArts Artist 44 Khehla Chepape Makgato Interrupting the norm 50 Christa Myburgh The Presence of Absence 54 Ndabuko Ntuli’s Solo show Umlayezo kamkhulu wami 58 Hennie Nieman Snr In his own words 66 Frank Kilbourn Art lover and collector 88 Auction Action Results, highlights and lots to watch 104 www.artgo.co.za Exhibitions, Gallery Guide May 2018 MAY COVER ARTWORK Derric van Rensburg Karoo Sunset Image: Courtesy of Robertson Art Gallery

Left: Bastiaan van Stenis, Pickaline 120 X1 20cm, 2018

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Editorial SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

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s the artworld slowly tilts from summer into winter many local galleries look abroad to get their artists some northern summer exposure through prestigious artfairs and museum shows. Those galleries that stay regional tend to work harder to attract patrons through this period, by luring them from their warm houses with the promise of entertainment, which includes food wine and music. The idea of incorporating art with food, wine and entertainment has taken off on many of the local wine estates. The most recent example being First Thursdays and Hermanus Fynarts. This combination, together with literature and music is good for the soul in terms of stimulating the better things in this life.

In terms of year round economies, like Vivaldi s four seasons, the local art auction scene keeps the arts community alive and colourful all year round. To this regards we are incredibly lucky to have interviewed the Executive chairman Frank Kilbourn of Strauss & Co, who’ s company turned over a cool R 329M in 2017. I would urge you to read this fascinating interview, if anything to assure you that the local art market is indeed interesting, colourful and strong.

In addition to the movers and shakers featured in this edition, this month both William Kentridge and Esther Mahlangu have both been awarded honoury doctorates for the arts. I look forward to the day when artists are recognized by a broader spectrum of the population for their contribution in colouring our lives outside of the hypnotic gaze into the smart phone and the deafening mass media.

Getting back to this edition, we have used larger images in order to do better justice to the artwork. I would be keen to know your response to the new look and feel of the magazine.

Lastly, we have chosen a soft launch for the ArtGo Art event guide.

We believe that our strong infrastructure will assist in the promotion of local visual art and keep you up to date with upcoming art events.

We hope that you will support us in this important endeavor at www.artgo.co.za Gabriel Clark-Brown

CONTACT ART TIMES Tel: 021 424 7733 P.O Box 428 Rondebosch 7701 EDITOR Gabriel Clark-Brown editor@arttimes.co.za ART DIRECTOR Brendan Body ADVERTISING & NEWSWIRE Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA EVENT LISTINGS Jan Croft subs@arttimes.co.za SEND AD MATERIAL sales@arttimes.co.za ARTGO Simon Carletti info@artgo.co.za LETTERS TO editor@arttimes.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.

@ARTTIMES.CO.ZA

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Lunika Lwando, Untitled pencil on paper

Sanlam Portrait Award 2017 Top 40 Exhibition

GFI Art Gallery 30 Park Drive, St George’s Park, Port Elizabeth Tel: 041 586 3973 email: info@gfiartgallery.com

9 May – 8 June 2018 Viewing Times: Monday – Friday: 10:00 – 16:00 Saturdays & Public Holidays: 10:00 – 13:00 Sundays: Closed www.gfiartgallery.com www.rust-en-vrede.com www.sanlamportraitaward.co.za

Art News

WILLIAM KENTRIDGE Receives honorary Phd from the University of Pretoria First published on News 24 / 04-12 16:19 / Christina Pitt

These short animated films were based on everyday life under apartheid. He then expanded his thematic range to examine other political conflicts.

Also read: Ndebele artist Ester Mahlangu receives honorary doctorate “In addressing difficult topics, he evades becoming didactic and instead creates ‘an art of ambiguity, contradiction, uncompleted gestures and uncertain things’, in his own words,” the citation reads in part.

“As the artist increasingly inserts himself through self-reflection in his animations, moving away from a cast of fictional characters, his own reflections take centre stage in what can be termed a ‘theatre of memory’. Kentridge has become an exceptional and outstanding envoy for the arts.”

William Kentridge poses for a photo next to an animation work, part of his exhibition in the Israel Museum, in Jerusalem. (Oded Balilty, AP)

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outh African artist William Kentridge was awarded an honorary PhD of philosophy from the Faculty of Humanities at the University of Pretoria on Thursday.

Kentridge is well known for his animated expressionist drawings and films exploring time, the history of colonialism and the aspirations and failures of revolutionary politics.

“William Kentridge has been an advocate for the arts in South Africa for decades. His work has been consistently courageous, and he is an inspiration to fellow artists and humanists around the world. We are gladdened by this opportunity to recognise and acknowledge his contribution,” said humanities dean Professor Vasu Reddy.

The artist first achieved international recognition in the 1990s with a series of what he called “drawings for projection”.

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Later this month, the faculty will also award an honorary doctorate to cultural activist Mike van Graan on April 23. Indian historian Romila Thapar will be awarded an honorary doctorate on May 8, also by the Faculty of Humanities.

African theologian Emmanuel Lartey will receive an honorary doctorate from the Faculty of Theology on April 20 for his work in practical theology.

“As the artist increasingly inserts himself through selfreflection in his animations, moving away from a cast of fictional characters, his own reflections take centre stage in what can be termed a ‘theatre of memory’

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Irma Stern, Still life with Ranunculus in the artist’s handmade ceramic jug, 1950, Estimates: R3 000 000 - 5 000 000

WINTER AUCTION IN JOHANNESBURG | 17 JUNE 2018 Historic, Modern & Contemporary Art Gordon Institute of Business Science | 26 Melville Road | Illovo | Sandton W W W. A R T T I M E S . C O . Z A | www.aspireart.net +27 11 243 5243 | enquiries@aspireart.net

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Editors choice from the global art media

TOO MANY FAIRS, NOT ENOUGH ART First published in the Economist Newspaper April 2018 by P.W.

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EFAF Maastricht worked overtime this year to avoid criticisms of obsolescence.

But other fairs and dealers of fine art may not be so lucky.

MOST of the greatest works of art are in museums—“prisons for art”, as one frustrated dealer calls them. While contemporary artists can keep replenishing their market, earlier paintings, bronze sculptures, objets d’art, antiquities, medieval carvings, porcelain and antique jewellery were created by those now dead. Not everything is locked away in museums, of course, but as the lifespan of collectors increases, so does the time their acquisitions are off the market. David Rockefeller, whose vast collection will be auctioned by Christie’s next month, died aged 101.

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At the same time, there is more money chasing art and antiques. Demand is keen, as is evident in the growing number of fairs. TEFAF in Maastricht, with 282 exhibitors, is the best as well as the biggest of them. But it is joined by other events: long-standing ones like the Winter Antiques Show (New York), the Biennale in Paris, and BRAFA (Brussels), as well as ambitious newcomers such as Masterpiece (launched in 2011) and Frieze Masters (2012), both in London, and Maastricht spinoffs TEFAF Fall (2016) and TEFAF Spring (2017) both in New York. TEFAF’s newly announced global strategy promises still more.

There is no lack of interest—but there simply isn’t enough fine work to stock them all. So many fairs have had to change focus or to specialise. BRAFA, long famous for medieval art, has shifted towards

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contemporary art. Masterpiece emphasises a luxury shopping experience. Meanwhile TEFAF Maastricht, the market leader, had come to be accused of complacency, seemingly stuck in an opulent rut, its fame as a source for important Old Master oils having outlived their availability.

Indeed, in 2017 the fair looked downright thin. Your correspondent heard variations of “it’s all over” from, among others, a collector, a visiting (hopingto-buy) dealer and even one of the fair vettors.

But 2018’s edition of the fair, which ended last month, proved that TEFAF Maastricht isn’t past it—yet. The fair had given itself a shot of aesthetic adrenaline. Dealers worked especially hard, and were lucky enough to find outstanding works.

Sales reflected this. Alan Darr, curator of European works of art at the Detroit Institute of Art, reports that while on past trips to the fair with his museum’s patrons they bought a single piece, but this year they chose three. Strong sales were the result, in turn, of a new approach to buying.

Traditional collectors focus on one genre, material, period or maker. Their number, however, like the amount of old art in circulation, is shrinking.

Replacing them are people “attracted to what is unusual”, says Peter Schaffer, an owner of A la Vielle Russie, specialists in antique jewels and Russian objects of art who exhibit at TEFAF. “It could be a rare material,” he explains, “like the tiger agate used in a Fabergé tray, or the unusual combination of amethyst and jade in a pair of earrings.”

This year, Maastricht provided both unusual materials and unusual combinations. Less than an hour after the preview opened, a European collector bought an 18th-century, diamond-studded ivory perfume flacon. Shaped like a seated Chinese scholar, it would be right at home in Dresden’s Green Vault, the greatest surviving collection of princely treasures. A large, sensitively carved 17thcentury boxwood relief, “Christ in the Garden of Gethsemane”—a new attribution to the Master of St Sebastian’s Martyrdom—is an archetypal oldstyle collector piece—yet one of those interested in it had just been considering an Egon Schiele

drawing. The Botticelli gallery from Florence brought a 17th-century, life-sized, carved marble elephant’s head from a Palermo villa. Its buyer adheres to no single collecting sphere. His house is hung with old masters, but this elephant-head wall fountain will be spouting in a garden full of contemporary sculpture. Fabulous gold boxes small enough to hold in one hand were a favourite princely treasure, and Adrian Sassoon, a gallery, showed how the same idea could be executed in a contemporary, technically sophisticated re-imagining. Admirers made a bee-line for “Mandala”, a feather-light and translucent bowl of sunshine woven from 4,000 metres of gold wire. (Giovanni Corvaja, its maker, achieved this by avoiding solder by working within vacuum chamber where gold could bond to itself.)

Just as reading news on mobile phones loosens loyalty to—or even awareness of—its source, longterm relationships with a specialist dealer weaken when buyers mix the works they buy without concern for matching them. This, alongside the dearth of high-quality work in circulation, poses a fatal risk to some dealers. If they are to survive they will have to rethink, perhaps radically, everything from what they stock to its display and marketing. Some are taking steps in that direction, but their efforts are haphazard attempts to add contemporary works to portfolios merely because their colours or shapes are related. Perhaps dealers will find collaboration works well. If, for example, Koopman Rare Art had borrowed “Mandala” from Sassoon and showed it along with their gold boxes what a sensation it would have been; the best of the past and present in dazzling conversation, attracting interest to both.

It is impossible to know what TEFAF Maastricht and similar fairs will look like in a decade, but it seems certain that the difference between now and then will be far greater than previous decades have seen. For even the most storied fairs and dealers, the message is clear: they must change or disappear.

Editors choice from the global art media

IT’S DR ESTHER MAHLANGU! UJ honours renowned SA artist with honorary doctorate First published on News 24 / Avantika Seeth

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orld renowned Ndebele artist Esther Mahlangu has been awarded an honorary doctorate by the University of Johannesburg for “her legacy as a cultural entrepreneur and educator, skillfully negotiating local and global worlds”.

She is now known as Dr Mahlangu.

The university’s chancellor, Professor Njabulo Ndebele, relayed a personal story of the significance of Mahlangu’s work.

“When I visited the British Museum, I saw the iconic BMW which was painted by Dr Mahlangu. It shows us that no matter where we are in the world, the Ndebele paintings have become an iconic sign of South Africa,” he said. Mahlangu entered with the university’s academic procession, adorned in traditional Ndebele attire, with a gold necklace and gold rings around her legs. Wearing a pair of white takkies, Mahlangu personalised the pair by attaching a line of beaded Ndebele designs around the sides.

She sat patiently as she watched over each graduate receiving their degrees, and when it came time to receive her own doctorate, the tone of the graduation went from formal to jovial. Mahlangu took to the podium to thank everyone briefly, when fellow guests close to Mahlangu took to the stage to celebrate in her achievement. Donning animal skin and wooden sticks, three men paid tribute to Mahlangu by dancing on stage.

Mahlangu – known for her paintings closely linked to her Ndebele heritage – has grown to be one of South Africa’s most celebrated artists, gaining international recognition for her contribution to the arts fraternity, both locally and abroad.

In 2006 she was awarded The Order of Ikhamanga (Silver) by the South Afican government, which is an order issued by the president to a person for their invaluable contribution to the arts, culture, literature, journalism, music and sports fields.

At 82, Mahlangu’s zealous nature, which is

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constantly at the forefront of creating unique and culturally significant pieces, knows no bounds.

Born in 1935, Mahlangu was first inspired by the guidance that her mother and grandmother brought to her when she was taught to paint and learnt the art of beadwork by these leading ladies in her life.

She received recognition for her artistic flair and striking Ndebele patterns which she painted on her house – a skill which the women of Ndebele houses traditionally exemplify. According to Ndebele custom, a house that is well painted means that the wife of the home is a good mother, wife and daughter.

Some of her most famous works include being commissioned by BMW to apply her skills on the panels of a BMW 7-series in 2016.

The vehicle formed part of BMW Group South Africa’s Heritage Collection.

Some of Mahlangu’s career highlights include: • The painting of the tail of a British Airways plane in 1997 • In 2012, Mahlangu showcased a solo exhibition called Overlay at 34FineArt in Cape Town, which was then taken to various other countries.

• In 2014, Mahlangu was commissioned by the Virginia Museum of Fine Arts in the United States to create two large-scale paintings, which serves as the gateway to the museum’s African art gallery.

The work took a month to complete.

• In 2017, Mahlangu was honoured with a twolane Ndebele mural in New York City, which commemorates the work she has done in New York. It was done by Imani Shanklin Roberts.

In May Mahlangu will participate in an international women’s exhibition, which includes 85-year old Japanese artist Yoko Ono, at the the Nirox Foundation Sculpture Park (in partnership with the Swedish Wanas Foundation) located in the Cradle of Humankind, near Johannesburg.

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Mam Esther Mahlangu at her graduation ceremony at the University of Johannesburg. Image: University of Johannesburg

NOURHAN MAAYOUF 2016 Absa L’Atelier winner headed to SA for solo exhibition 20 May until 15 June 2018 www.lateliercompetition.com

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eing named the overall winner in the 2016 Absa L’Atelier art competition didn’t only change Nourhan Maayouf’s life as an artist, it provided part of the inspiration for the young Egyptian photographer’s upcoming solo exhibition at the Absa Gallery, The Sea is Closed: Shallow Water.

Born and raised in Egypt, Maayouf has never ventured out of her home country. But winning the Absa L’Atelier award saw her spending six months at the renowned Cité Internationale des Arts in Paris. This brought to life the complexities many Egyptians grapple with as they face the prospect of leaving behind their homes in search of a better life in the face of increasing political and economic instability.

“The importance of one’s original home has dramatically changed among many Egyptian youth, who suffered after the Arab Spring’s political and economic transitions. This has been felt in particular by middle-class Egyptians, who began to seek opportunities that would allow them to move, often outside the country.

The result is that they have been forced to leave their memories and families behind to pursue economic and psychological wellbeing.”

“In recent years I have battled anxiety from fear of independence, facing my obligations, and detachment from my family due to the social norms that prevent Egyptian women from leaving their family homes until they get married.

I have also suffered from extreme loneliness due to my friends leaving Egypt, and been affected by the drastic economic situation in our country.

All these circumstances have resulted in anxiety, and a strong desire to flee,” explains Maayouf of the inspiration behind the body of work on show.

In this sense, The Sea is Closed component of the exhibition analyses the contemporary relationship between one’s home and that individual’s independence. The sea, although it represents freedom, to so many Egyptians remains ‘closed off’.

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Did You Sleep Well

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I Smell Cairo

The Shallow Water part of the exhibition reflects Maayouf’s personal emotional struggles between her home in Cairo and living in Paris for six months. It documents the struggles she experienced during this, her first-ever period of displacement.

it difficult for me to merge with the foreign world.

Shallow Water is a metaphor for my experience in Paris. I was neither a temporary tourist nor a permanent resident. I was swimming in a foreign world but still grounded to my home country,” she adds.

“Arriving in Paris, a developed and free world, I thought I would get over all that I had suffered in Cairo. However, I still battled anxiety. I was chased by my memories, my unbreakable family bond, and my conservative upbringing, making

Aside from this inspiration, Maayouf’s time in Paris also saw her expanding her art practice to include video. This, says Dr Paul Bayliss, Absa Art and Museum Curator, speaks to the power of the Absa L’Atelier art competition to not only

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“The importance of one’s original home has dramatically changed among many Egyptian youth, who suffered after the Arab Spring’s political and economic transitions.”

Between Cairo and Paris

open new doors for artists, but broaden their personal and artistic perspectives as well. “So many L’Atelier artists find new inspiration in either their subject matter or medium during their art residencies awarded as part of the L’Atelier prizes.

This is a valuable component of the competition, as it exposes artists to new experiences that eventually help shape their career. This is vital to young, up-and-coming artists,” notes Dr Bayliss.

Maayouf embarked on her artistic journey in 2010 by engaging with diverse forms of photography.

She eventually settled on staged photography as her preferred style, working with simple props and natural lighting. She relies primarily on self-portraits, being the actor, having a private relationship with the camera, and freely expressing intimate issues.

The Sea is Closed: Shallow Water runs from 20 May until 15 June 2018 at the Absa Gallery.

I Heard a Squeak

STELLENBOSCH UNIVERSITY MUSEUM 100 Forward? Forward! Forward - The Stellenbosch University Museum celebrates 100 years of higher education in Africa

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he Stellenbosch University Museum is inviting emerging and established artists in an open call to participate in this compelling, innovative and thought provoking exhibition.

This upcoming exhibition aims to bring together a collection of 100 artworks, which re-imagines the future of Stellenbosch University and higher education in Africa. An open call is made for artists to submit proposals for artworks that engage with ideas around the future of higher education in the next 100 years (2018 – 2118).

Proposed artworks will serve as catalysts for debate and engagement on the future of the university. It will provide a platform for the muchneeded opportunity to talk across boundaries - for artists, practitioners in museums and galleries, scholars in the academy, learners in schools, students at universities, young people and the general public. All creative expressions are welcome including visual artworks, video, installation, 3D, performance, interventions, music and poetry.

The Stellenbosch University Museum (formerly known as the Sasol Art Museum) has positioned itself not only as an art museum but as an open space for public programmes, discussions/ lectures, workshops and film screenings.

The museum has unique exhibition spaces.

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The Stellenbosch University Museum was formerly known as the Sasol Art Museum.

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“This upcoming exhibition aims to bring together a collection of 100 artworks, which re-imagines the future of Stellenbosch University and higher education in Africa.”

Wim Botha, Solipsis V, 2013, polystyrene, wood and fluorescent tubes, installation view in the Stellenbosch University Museum [Wim Botha photo]

The museum has hosted many solo exhibitions of established artists including Mary Sibande, Wim Botha and Willie Bester and the university’s permanent collection includes works by Irma Stern, Noria Mabasa, Maggie Laubser, Jackson Hlungwane and August Rodin.

The exhibition will form part of the Stellenbosch University Centenary and is to open on 5 December 2018.

Prospective participants are encouraged to submit their proposals to be considered by a selection panel. All selected works will be displayed at the University Museum and GUS for the duration of the exhibition.

Proposal to be submitted with short artist bio, short description of proposed artwork [up to 3

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per artist), does the work exist or does it need to be created, delivery cost to & back from Stelllenbosch The museum will fund the delivery of works and installation. There will not be funding for materials.

Deadline for submission of the proposal: 16 July, 2018 Send proposal to: uw2@sun.ac.za Contact: (021) 808 3029 Deadline for delivery of the selected artwork: September 28, 2018 The Forward? Forward! Forward… exhibition aims to look at the next 100 years of higher education in Africa.

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A n Exhibition of Abs trac t A r t

Artwork by: Paul Marais Featuring artists: Leandri Erlank; Dirk Meerkotter; Ben Eagle; Paul Marais; Klara Christen, Christo Coetzee & W WDer W. A RMer T T I Mwe ES.CO.ZA Strijdom Van

13 April - 12 May Info@absolutar t.co.za www.absolutar t.co.za 19 Ryneveld street Stellenbosch 6 9 021 882 9296

SASOL NEW SIGNATURES Art Competition 2018 – #Limitless www.sasolnewsignatures.co.za

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ohannesburg, South Africa – The scope of an artist’s influence is often equivalent to their willingness to challenge the limits of current thinking in artistic practices. In an industry where creativity and innovation are highly valued, the Sasol New Signatures Art Competition plays an instrumental role by encouraging emerging artists to adopt a limitless approach to contemporary art.

Shining the spotlight on South African artistic talent and creating opportunities to showcase undiscovered artists is the focus of the Sasol New Signatures Art Competition. Being the longest running competition of its kind in South Africa, Sasol New Signatures has over the years provided a platform for unknown artists to break into the mainstream. On winning the overall honour in 2017, Lebohang Kganye said: “I don’t know if anything prepares you for winning such a competition and for the aftermath of receiving an award like this. It is quite a surreal experience - almost like I was looking in from the outside. Actually it is pretty difficult to fully express.” Since winning the competition, Lebohang has had the opportunity to showcase her work at prestigious local and international events such as the Design Indaba.

Sasol’s name is synonymous with supporting the visual arts and this continuing sponsorship enables emerging artists the opportunity to start their careers. Sasol has been collecting artworks by home-grown talent since the early 1980s, and features an impressive corporate collection of art and sculpture. Art as a metaphor for life is a deeply embedded idea in the collective cultural consciousness.

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Sthenjwa Hopewell Luthuli, Umbamgo (conflict)

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Carol Anne Preston, Cocoon (Detail)

Charlotte Mokoena, Sasol Executive Vice President: Corporate Affairs and Human Resources said: “Art is so powerful and makes an invaluable contribution to society by creating platforms for engagement within communities.

Art has the potential to inspire, challenge and heal. The importance of corporate South Africa supporting the arts must remain on the agenda as art plays an important role for our country as a whole.”

Entries for the Sasol New Signatures Art Competition 2018 are now officially open.

Held annually, in proud partnership with the

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Association of Arts Pretoria, this competition is open to all South African artists who are 18 years and older and have not yet held a solo exhibition.

Artists can submit their artworks in all artistic mediums – painting, drawing, printmaking, sculpture, photography, performance art, video and installations.

“The competition has been alive and running for close on half a century, not only becoming South Africa’s oldest and most prestigious art competition, but also developing criteria to judge the merits of art works, namely the artistic concept, the use of materials, the quality of

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2017 Sasol New Signatures winner Lebohang Kganye

countrywide. Artists who’ve submitted their works will have the opportunity to understand from the judges why certain entries were accepted and others not. The intention is to assist aspiring artists to grow and guide them on how they can further better their art.

Contemporary, innovative and emerging artists with winning aspirations are invited to submit their artworks at one of several collection points around the country between 10h00 and 16h00 on Monday, 2 July 2018 and Tuesday, 3 July 2018.

craft and demonstrated skills,” said Pieter Van Heerden, Director of the Association of Arts Pretoria.

As part of the competition, Information Sessions will be held across the country from the end of April. The purpose of these sessions is to educate emerging artists on how they can produce and submit winning work, thereby contributing to improving the quality of entries every year.

Furthermore, there will also be National Feedback Sessions at various selection points

The final round of judging takes place at the Pretoria Art Museum on Wednesday, 8 August 2018. The winner of the Sasol New Signatures Art Competition will be announced on Wednesday 29 August 2018 at a gala event, after which the winning works will be displayed at the prestigious Pretoria Art Museum from Thursday, 30 August 2018 to Sunday, 7 October 2018. The winner will receive R100 000 and a solo exhibition at next year’s exhibition, with the runner up winning R25 000 and the five merit award winners receiving R10 000 each.

As part of her prize last year, Kganye will be presenting her solo exhibition this year. “As one of the longest running art competitions, I am grateful for the commitment Sasol has demonstrated to the careers of young artists by investing their expertise and resources. Plus the Sasol prize money is invaluable in assisting artists to further their careers.”

For more information on the competition, artists can visit www.sasolnewsignatures.co.za.

PPC IMAGINARIUM A penetrating work on urban soccer wins the country’s

most supportive art and design prize for emerging creatives www.ppcimaginarium.co.za

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t the gala event held at the University of Johannesburg Art Gallery on the evening of 4 April 2018, upcoming young artist Chris Soal was announced as the overall winner of the PPC Imaginarium Awards 2018. The 24-year-old sculptor, a fine arts graduate from the University of the Witwatersrand, garnered R150 000 in prize money, and participation in an eight-monthlong nationwide travelling exhibition.

Soal’s winning piece, entitled “Imposed Structure to the Detriment of the Members”, consists of cement cast into the shape of a deflated and scuffed soccer ball, through which a construction rebar has been forced. This sculpture lies on the floor, leaning up against the wall, as dejected, pierced and deflated as abandoned soccer balls often are.

The work speaks not only to the realities of growing up in a city environment, where soccer is played in the streets, on concrete and tar, but also to the relationship of soccer to South African industry. One example of this relationship is the 2010 FIFA World Cup. To this day, questions are posed regarding the event’s benefit for the country.

Soal’s artwork was chosen as the winner by the PPC Imaginarium Awards national judging panel. The panel includes globally acclaimed contemporary artist Mary Sibande and Daniel van der Merwe (who heads the PPC Imaginarium Awards), in addition to renowned local artist Stephen Hobbs and UJ Art Gallery curator Annali Dempsey, bringing a wealth of industry know-how to the judging of South Africa’s top art and design contest.

The national judges were also responsible for choosing the various category winners and runners-up, as follows:

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Jewellery Winner: Aleks Ashton Runner-up: Daniella Sachs Fashion Winner: Gabrielle Foulis Runner-up: Nangamso Dana Sculpture Winner: Chris Soal Runner-up: Franli Meintjes Industrial Design Winner: Giovanni Zambri Runner-up: Anton van Reenen Film Winner: Phumulani Ntuli Each of the category winners received R50 000 in cash with the runners-up getting R15 000, bringing the total prize money for the competition to half-a-million-Rand. These winners were chosen from a record number of 62 national finalists from 302 regional entrants, topping last year’s number, which saw 55 finalists chosen from 869 regional entries.

Growing from strength to strength each year of its existence, the award-winning competition has once again outstripped expectations with a dazzling selection of concrete pieces by upcoming local talent. The awards programme has been in existence for four years, with entrants submitting work across a number of categories, including film, fashion, sculpture, jewellery, industrial design and architecture.

Right: PPC Imaginarium Winner, Chris Soal, Imposed Structure to the Detriment of the Members

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Gabrielle Foulis, The Art of Destruction

Above: Gabrielle Foulis, The Art of Destruction2 Right: Giovanni Zambri, GIO

Earlier this year, regional entries for the 2018 PPC Imaginarium Awards were showcased in a series of pop-up public exhibitions held in Durban, Cape Town and Port Elizabeth during February 2018. Regional entries were judged by experts, practitioners, scholars, artists and curators. Award-winning artist and curator Raimi Gbadamosi judged entries from Pretoria, which sent 12 finalists to the national gala exhibition. Mary Sibande and accomplished curator Rolihlahla Mhlanga judged Johannesburg’s entries, choosing 29 finalists, while Tumelo Mosaka, whose stellar career led to his appointment as the curator of the Investec Cape Town Art Fair, chose 11 finalists from Cape Town. Award-winning sculptors

Mellaney Ruiters and Eugene Hlophe chose three entries from Port Elizabeth and two from Durban, respectively, and Adelheid von Maltitz, sculptor and fine art lecturer at the University of the Free State, selected one from Bloemfontein.

Documentary filmmaker and visual artist Wessel van Huyssteen chose four finalists for the film category of the 2018 PPC Imaginarium Awards.

Unlike in previous years, entries in the Architecture category will be showcased and judged at the 2018 Architecture ZA conference, replacing the prestigious Des Baker Award for outstanding work by an architecture student.

“The winner will be seen as the best design student currently enrolled for a degree in architecture,” says Van der Merwe.

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Aleks Ashton, Tiara of the Heart and Head

The full list of 2018 finalists, classified per category (excluding architecture), can be viewed online, including the Art Times website. Works by all the national finalists, including the winners, will be on exhibition at the UJ Art Gallery from 4-25 April 2018. The UJ Art Gallery has received a grant from Business and Arts South Africa (BASA) to support an educational workshop focusing on the power of innovation through the medium of cement. This free workshop will be held at the gallery on 3 May 2018 and is open to art and design students from any tertiary institution.

After its stop at the UJ Art Gallery, the finalists’ work will form part of the awards’ prestigious travelling exhibition, visiting platforms like the

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Turbine Art Fair and 100% Design South Africa 2018 in Gauteng, the AVA Gallery in Cape Town, and the KZNSA Gallery in Durban. “The initiative has enabled and empowered more artists and designers than any comparable project in South Africa,” states Van der Merwe.

For its role in supporting local developing artists and designers, the PPC Imaginarium Awards has been recognised by several Business and Arts South Africa (BASA) Awards. The PPC Imaginarium Awards has now extended its reach from South Africa to Zimbabwe, and is running its first PPC Imaginarium Awards in Zimbabwe in 2018.

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Nigatu Tsehay, Fragile Reality, oil on canvas, 80 x 90 cm

Christopher Moller Gallery 7 Kloofnek Road, Cape Town, +2721 422 1599, www.christophermollerart.co.za

Artist Profile

KATE GOTTGENS Hermanus FynArts Artist 9 June 2018

www.hermanusfynarts.co.za

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ate Gottgens is an artist who knows and exploits the potential of contemporary painting to its finest, most delicate streak. Ever since her debut solo exhibition – Modern Wonders at Everard Read Contemporary in 1993 – the artist has cast a cold eye on the South African dream of the perfect family and the perfect home. Happy snaps, steeped in the optimism of affluent suburbia, are transformed into edgy, painterly evocations of the ennui and malaise beneath the surface of everyday life. Her images, according to Ashraf Jamal, become markers of “an anaemic truth, a world, or worlds, intergenerational, ground down by the fury of living.”

In the foreword to Gottgens’ second publication: Kate Gottgens // Paintings 2015 – 2017, released in conjunction with Tired from Smiling, her most recent solo exhibition at SMAC Gallery in Cape Town, Sean O’Toole describes the artist as “a kind of flâneur” – traipsing the southern suburbs of Cape Town in search of imagery. This activity later led to the comfort of Google Street View, whose panoramic ready-mades could be captured through a screen shot as reference material, along with online found images that translated into the interiors and characters that populated these scenes. According to Gottgens, “All found photographs have a history that one can only guess at and try to interpret, and the less one knows the more room there is for manipulation and imagination.” Suburban malaise with its domestic routines, social stasis, and an impending sense of dread are some of the themes that permeate Gottgens’ twenty-five-year long practice. So too is irony, humour, and a luminous sense of the marvellous.

As Melvyn Minnaar says of her recent body of work, “Kate Gottgens makes paintings. She finds her themes everywhere… and understands that this is a medium that engages with viewers differently, that it represents and narrates in other ways. Her representations suggest incomplete tales, stories,” Minnaar continues, “These are paintings that set all kinds of paradoxical challenges to viewers, all the while gripping them, enticing their verdict and conclusion.”

Born in Durban in 1965 and currently living and working in Cape Town, Gottgens will present an exhibition of new paintings at the Hermanus FynArts festival. In addition, her work is included in SMAC Gallery’s presentation at artmonte-carlo in Monte Carlo, Monaco, from 28 – 29 April 2018.

The exhibition will be housed in the new FynArts Gallery, The Courtyard, Harbour Road, Hermanus. Curated by Marilyn Martin, the exhibition opens to the public on Saturday, 9 June at 14h00.

Artworks 1) Untitled 3, 2018, Oil on Canvas_69 x 90cm 2) Untitled 1, 2018, Oil on Canvas, 95 x 95cm 3) Untitled 2, 2018, Oil on Canvas, 95 x 95cm 4) Untitled 5, 2018, Oil on Canvas, 95 x 95cm

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AT Artist Profile

KHEHLA CHEPAPE MAKGATO Interrupting the norm 27 May - 20 June 2018 www.rkcontemporary.com

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n increasingly renowned artist, an avid philanthropist and a freelance arts writer are just a few ways to describe Khehla Chepape Makgato.

This young artist is quickly making a name for himself, with his most recent achievement being the receipt of the 2018 Zygote Press International Artist Residency in Cleveland, USA. Awards, collaborations and residencies Makgato, who was born in Kensington, Johannesburg and raised in a rural village outside Polokwane in Limpopo, has a diploma for Fine Arts, majoring in Printmaking, as well as a diploma in Media Practice, majoring in Journalism. A prolific writer, artist and mentor Makgato founded, and is the creative director at Samanthole Creative Projects which provides art skills, encourages reading of poetry and literature, and motivates the youth in rural communities of South Africa.

His list of accolades includes being one of two South African delegates to the 2012 Africa Utopia Youth Arts, Cultural and Olympia Festivals of the World at the Southbank Centre in London. He has participated in numerous art exhibitions both locally and internationally.

(Detail), VC Rosina Mmamokgethi Setati-Phakeng, Mixed Media, 2018

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“From 2010 to date, he prepared grant proposals, developed budgets and obtained funding from private donors for arts workshops in rural communities across South Africa. “

The President, Mixed Media, 2017

In 2015 he collaborated with William Kentridge on a project and continues to work with him to date.

He has won a studio art bursary from the African Arts Trust. He is also an inaugural recipient of the 2016 Art Across Oceans Residency at Kohl Children’s Museum in Chicago, USA. He was the winner of the ImpACT Award for Visual Artist in 2016 from the Arts & Culture Trust of South Africa, and he was the Mapungubwe Visual Artist of The Year in 2016.

From 2010 to date, he prepared grant proposals, developed budgets and obtained funding from private donors for arts workshops in rural communities across South Africa. He also established the Rhodes Park Library Kids Book Club to encourage reading and writing in his community of Kensington.

The Twins (Detail), Mixed Media, 2017

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Black Woman, You are Powerful, 2017

Next solo exhibition Makgato, who works in a range of mediums, including collage and assemblage art and whose art often focuses on social issues and the people involved in them, will be holding a solo exhibition at the RK Contemporary art gallery in Riebeek Kasteel in the Western Cape titled “Kehla Chepape Makgoto - Chronicles of Makotopong - Memories of A Village That Raised Me” which will run from 27 May until 20 June 2018.

Astrid McLeod, owner and curator of RK Contemporary says that she is extremely

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excited to have Makgato exhibiting at the gallery. “Khehla Chepape Makgato is a rising star whose work is increasingly sought after.

Private and institutional art collections the world over feature his work. Not only this – but the man himself seeks to challenge the norm and to do things differently – this is an ethos shared by RK Contemporary.”

For more information contact Astrid McLeod on 083 6533 697 or email art@rkcontemporary.com

Va r i a t i o n / D i s t i n c t i o n With Vincent Osemwegie | Anthony Lane | Duduza Mchunu

Opening 3 May 2018

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AT Artist Profile

CHRISTA MYBURGH

The Presence of Absence at Eclectica Contemporary

By Dr Danny Shorkend / www.eclecticacontemporary.co.za

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ENSUAL, other-worldly & unmistakably feminine, these oil paintings by Christa Myburgh yet speak of that which is wholly about real-world realities. One is confronted with beautifully rendered figures amidst curious spaces and equally odd shapes and forms.

On closer inspection and in conversation with the artist, a woman of tremendous presence and allure, I learnt that these are images of herself and her two young children. She paints her story - a single mother of two fending for her children and yet at the same time expressing her exuberant, creative talents.

Her formal arts training backed up with her life experiences and strong drawing ability are such that she renders her figures with keen sensitivity: The lines are not overbearing; skin tones that are raw and yet seamlessly flow, allowing a certain light and lightness of being and a caressing gaze both of herself and her children.

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Stickeys and stones may break our bones but words will never hurt us, 2016 Oil on canvas 250 x 200 cm

Quite amazingly, her children sit for her, sometimes for quite extended periods. In addition, she works from photographs. Her understanding of anatomy; the weight of the body and the flow of paint to create volume and density is palpable.

The figures assert their presence. At the same time, there is loss; lack; emptiness and void.

Spaces that are ill-defined, surreal forms that one cannot quite place and an ethereal, mystical and religious references.

The latter is said as one cannot eschew the obvious references to the Madonna and Child.

Yet, she plays with the stereotypical image – the flesh is real; there is not one but two children and the whole image becomes rather more universal so that as Rothko once said, one can dispense with “the outmoded props of history”.

Christa tells me of her intent to kind of narrate a silent play. The silence is its absence. But the sound is one of colour, patient building and layering of surfaces, the meticulous rendering of a spatial dynamism and perspectival depth.

She further explains that while her images are posed, almost theatre-like, she intends to move and transport the viewer into an alternative reality.

Thus, in my estimation, she transcends the realist style – in fact, on closer inspection one finds in paintings such as “dissolved, resolved, solved number 1” – that she is a bit freer, allowing the paint to flow, drip and fuse in unpredictable ways.

Yet, one should not loose oneself in the singular mystery and the undefined, for she implores the viewer to be aware of the vulnerability of self and of the body – its veins and contortions, its structure and complex colour. To this end, the skill of her craft is evident as she uses various glazing techniques, and always at the same time, reverts to the mother of the arts, namely drawing. This, then is “filled in” with the meticulous exercise of painting. The worlds she creates and the narratives she tells (shows) is at one at the same time both intensely real and an illusion, a play.

Christa Myburgh has participated in numerous group shows. She was in the top 100 in the SA portraits competition; top 14 in the Kempton Park Thembisa competition and runner up in the SA art magazine competition in 2015.

Her current show at Eclectica Contemporary is sure to excite.

Sunday, Monday, Someday and always, 2017, Oil on canvas 170 x 170 cm

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AT Artist Profile

NDABUKO NTULI’S Solo show Umlayezo kamkhulu wami 18 May to 3 June.

www.themelrosegallery.co.za

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n a ‘Message from my Grandfather’ Ndabuko Ntuli remembers and celebrates Masobeshe Ntuli, his late grandfather, who encouraged him to take up visual art from an early age.

Masobeshe was a prolific sculptor and this may explain some of Ndabuko’s extraordinary understanding of 3 dimensional form.

In this latest body of works Ndabuko continues to explore trash and found objects as his chosen medium. Bottle tops, painted wooden blocks, metal pins and plastic, are expertly layered by Ndabuko to create captivating artworks for which he has a strong and loyal global following.

Ndabuko has a unique skill set from most visual artists as he is also a talented musician, with 6 Maskandi albums to his name and he is also a practicing Sangoma.

In a recent dream, Ndabuko explains that his grandfather appeared to him, and discussed the significance of his artworks and his chosen medium.

Ugogo Unontezi, Paint, wood and found objects.

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“His recent dream and respect for his culture has inspired him to explore an exciting new direction for his upcoming solo.�

Masobeshe explained that Ndabuko was tasked with giving life to trash, to show that even that what is considered useless has a value if respected. That if one could respect trash, one could respect all things.

Ndabuko Ntuli was born in 1975 in rural KwaZulu Natal, South Africa. He is married to the niece of Chief Mbangiseni Dlomo of the village of Isidashi. Whilst he has taken the decision to live and work in Alexandra in Johannesburg, his Zulu culture remains a central pillar of his life and influences his creative process.

His recent dream and respect for his culture has inspired him to explore an exciting new direction for his upcoming solo. In his latest body of work Ndabuko has chosen to revisit and draw influence from traditional Zulu design.

His use of primary colours and both rounded and geometric shapes, reminds one of the designs used in traditional Zulu earplugs, beading, attire and Zulu love letters.

On 17 May, Professor Pitika Ntuli, will officially open this exhibition, and Ndabuko will perform several new songs and poetry that he has composed in celebration of this event, his grandfather and his Zulu culture.

The exhibition runs from 18 May to 3 June 2018 at The Melrose Gallery, 10 High Street, Melrose Arch, Johannesburg.

Email craig@themelrosegallery.com if you are interested in an online catalogue of the works or laetitia@themelrosegallery.com if you are keen to attend the opening. More info on www. themelrosegallery.com

Bottle Tops

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Artist Profile

HENNIE NIEMAN In his own words www.aliceart.co.za

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he three great truths about being an artist according to Hennie Niemann:

“Inspiration exists, but it has to find you working” - Pablo Picasso “The sole substance of genius is the daily act of showing up” - John Steinbeck “Every day is a painting day, but every day is not masterpiece day” - Gregoire Boonzaier

Art has always been an integral part of Hennie Niemann’s life. At school, he was constantly painting and drawing. At the age of 12, Hennie was invited to exhibit his work alongside leading artists including: Frank Speers, Piet van Heerden, David Botha, Frans Claerhout and Gregoire Boonzaier. “After seeing my work, Gregoire extended an invitation to me to visit him in Cape Town.”

“During my first year at university I decided to take up Gregoire’s invitation and set of to Cape Town on my Vespa from Bloemfontein. In Cape Town I was so overwhelmed with my expectation of this great artist - I got cold feet and returned not meeting him!”

Later, 1964, he completed his BA (HED). His first teaching post was held in Bloemfontein, where he met the Ampenbergers and became good friends with Frans Claerhout whose expressionism became a style Niemann is associated with till today.

“During 1973 I had some works for sale in Pretoria and I was informed that Gregoire Boonzaier bought one and wanted to meet the artist! To his great surprise it was by the boy he met many years ago.

Once again Gregoire invited me to visit him.

I could finally meet him in 1975 and we formed a strong friendship that lasted till Gregoire’s passing in 2005.”

Harvesters, Private Collection

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Clown, 200 x 150mm

Fisherman, Private Collection

Above: Woman with Arum Lillies, 520 x 265mm Right: Woman with Yellow Arum Lillies, private collection

“I never consciously aimed at developing my own style; evolution came naturally over time through studying art and hard work, although to the trained eye, the influence of many artists is discernible in my work. - each artist stands on the shoulders of artistic giants.�

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Woman with Arum Lillies, 520 x 265mm

Abstract, Private Collection

Hennie often claims: “I never consciously aimed at developing my own style; evolution came naturally over time through studying art and hard work, although to the trained eye, the influence of many artists is discernible in my work. - each artist stands on the shoulders of artistic giants.”

Some of Niemann’s favourate subject matters include: Harvesters “My harvesting scenes capture the beautiful mountain scenery and the wonderful feeling of harvesting. I place my figures in a setting that would enhance the poetry of the harvesting dance.”

Clowns His clowns, as with Picasso and Rouault, are a mirror of emotion. The eyes express a wide range of emotion. Both the clown and the onlooker attempt to understand each other’s emotion.

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“The clown is about revealing a fragile imperfect part of ourselves. By exposing it for all to see, we turn our weakness into strength.” - Lolita Corina “When I know your soul, I will paint your eyes” Amedeo Modigliani Faces and Flowers Visiting flower markets both local and abroad holds a special kind of charm to him - Faces among flowers.

“I can watch buyers and sellers to my heart’s content.

Shy young people buying a first flower for a date, people of all ages attracted to the beauty of the bloom.

Its left to the artist to combine the two elements - to strike a balance. Portray a human face set among colourful flowers, the one enhancing the other.”

A special credit text to the publisher of Hennie Niemann Snr Biography: Sas Kloppers “Creative Spirit” - A truly inspirational Autobiography

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PEOPLE AND PLACES

A group exhibition opening at The Cape Gallery 3rd May on view 30 April - 2 June

Vuisani Mgijima, Ibhokwe ngeye siko, 56 x 81cm, Mixed Media

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n rural South African culture a greeting is a formal recognition. It can begin before people meet, at a distance, and slowly evolve into an extended exchange of formalities that include an inquiry into the health, circumstances and wellbeing of the other person as well as that of their relatives and other members of their community. Finally, when two people meet, the handshake is courteous and takes time. Only after these pleasantries does the business of the day come under discussion.

South Africa is a vast country of contrasting landscapes. Migrants by choice or by the financial imperatives of urbanization, come to the city steeped in the traditions and rituals of their rural homes. These rituals embody and enact events that celebrate the great, slow, natural cycles of life through the medium of dance, chant and drumming.Â

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Today in the staging of a theatrical production for a multi-cultural audience substantive body language is key to a broad understanding of the narrative. So too in the visual arts canvas and paper become a platform for action and incident. The already established artists on this exhibition require a formal recognition. It can begin as the viewer understands the culture that informs each piece and takes time to recognize the significance of the actions and the symbolism portrayed.

Participating Artists include: David Hlongwane, Patrick Holo, Thami Kitty, Boyce Magandela, Lindile Magunya, Charles Maleka, Shepherd Mbanya, Xolile Mtakatya, Sam Nhlengethwa, Malibongwe Shangaaz, Velile Soha, Theo Ntuntwana, Meshack Tembani, Mandla Vanyaza, Voyiya Vuyile, Timothy Zantsi.

Xolile Mtakatya, Ordinary People, 33 x 35 cm, Oil

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Business Art

FRANK KILBOURN Art lover and collector www.straussart.co.za

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trauss & Co recently celebrated their best year ever, recording R329 million in turnover – an increase of 80% over the previous year. Art Times asked Frank Kilbourn, who was appointed as executive chairman of Stephan Welz’s firm in May 2017, for his insights.

An art lover and collector since his student days some 30 years ago, Frank Kilbourn is revered for his business flair. Brought up on a maize farm in North West, Kilbourn was an excellent law student who has since sailed to the top of a variety of industries, including law, corporate finance, and hospitality, before founding the Bright Group of Companies in 2002. It was his love of art, however, that ultimately brought him to Strauss & Co. “About five years ago,” says Kilbourn, “my wife Lizelle and I went to support a fundraising auction by Stephan Welz to renovate and restore Welgemeend, the second oldest continually occupied homestead in South Africa, dating back to 1697, on the premises of Hoërskool Jan van Riebeeck – and Stephan suggested that we join forces. We seized the opportunity.

Since then, Strauss & Co sponsored the gala fundraising dinner and put the auction events together. We hold the talks, arrange the annual exhibition – last year in collaboration with Pieter Colyn, a friend and co-collector, where we hung a collection of nonfigurative abstract art from the 50s to the 70s – and use the opportunity to present the art and Welgemeend to the public.

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“I think that our record-breaking year is attributable to the unique combination of the high number of good quality works plus the general optimism and growth in the art market in South Africa.”

- Frank Kilbourn

The Bright Foundation matches donations Welgemeend receives and in the process have restored about 80% of the building. This project really cemented the relationship between our family and Strauss & Co on a different level.”

Sadly Welz passed away in 2015, leaving a leadership vacuum behind. Kilbourn, with his business acumen and close ties with the firm, seemed a perfect fit: “I love art, I love people, which you need to do to be in the auction business, and I love business, so it was for me a nice opportunity to combine three of the loves of my life in one position”.

At Strauss & Co, Kilbourn applies the same principles as he would in any other business.

“In corporate finance, I had a few rules,” he says: “only employ people who are smarter than you, that are going to work as hard or harder than you, and then give them an opportunity to excel.” Strauss’s success over the past two years eloquently testifies to the wisdom of this approach.

Nobody watching the auction world will have failed to notice Strauss & Co’s first Contemporary Art auction, held on 17 February

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this year in an abandoned cold storage facility at the Cape Town Cruise Terminal – a venue very much in contrast to the familiar Vineyard Hotel where the sales usually take place.

The decision to host a standalone contemporary sale, says Kilbourn, was market-related: “With modern and classic works, Stephan used to say that masterpieces tend to reappear at auction every 25 years. With the explosion of contemporary art and the exposure that art has been getting in South Africa in the last couple of years, contemporary art collectors have a tendency to hold onto works for a shorter time enabling them to acquire new works currently being produced by artists or newly discovered artists.

The buyers are younger, their tastes change more quickly, and some of them with highly developed personal tastes are selecting more complicated and demanding works. With contemporary works coming back onto the market after a shorter period, Strauss & Co had to extend into the contemporary space or risk being left behind. “In addition, in order for us to be a sustainable business, we need to be a brand that also appeals to younger people,”

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comments Kilbourn. “Strauss & Co is a very strong brand in the forty-plus age group but this is not necessarily the case with people 20 years younger than me.”

Of course, the firm’s extraordinary financial returns over the last two years have been securely based on the traditional market. “Not many people under the age of 35 can afford to pay R2million for a Battiss, R3 million for a Pierneef or R7million for a Stern, whereas buyers of historic and modern art are at that stage in life where they may have created excess capital that allows them to make those sorts of decisions.

Last year Strauss had its best year ever. What made 2017 so exceptional was the works that Strauss managed to secure. “It started 18 months ago,” says Kilbourn, “when numerous amazing Prellers started coming out of the woodwork – Prellers from all over the world, never handled in the secondary market before, that not even people like Prof Karel Nel and Esmé Berman, noted art historians and Preller experts, had ever seen. We put together a comprehensive program, with lectures, walkabouts and exhibitions showing these

works and educating people about the various stages of Preller’s career. As a result more people started to realise that there is more to Preller than his Mapogga paintings, there’s a rich oeuvre worth investing in.”

The Strauss & Co campaign attracted more and better Prellers which sold extremely well thereby strengthening the Preller market.

“Then we got the Jonkershoek Pierneef,” marvels Kilbourn, “which was on the market for the first time since it was purchased in 1929, an unbelievable work in perfect condition. It sold for R20.5 million achieving a world record for the artist. When there is a lot of activity on the telephones and plenty of bidders in the room, people get the sense there’s a deep market here, there’s a lot of interest, it’s not just restricted to one or two wealthy people.

I think that our record-breaking year is attributable to the unique combination of the high number of good quality works plus the general optimism and growth in the art market in South Africa.

Business Art

THE DEVELOPMENT OF VALUE IN THE SA ART MARKET

By Ruarc Peffers, Director, Aspire Art Auctions www.aaspireart.net

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any who are interested in beginning to collect art or who are expanding existing collections want to know how to ’read’ the art market. If they invest money in an art collection, the key question is: will my art appreciate in value over time?

A closer look at how value is created and has grown in the art market in recent times reveals some interesting trends. Today the international market for art sold at auction is worth $62.7 billion.

The African art market in its entirety represents no more than 1% of this global market value, despite supplying more than 20% of the work available from global auction houses.

The South African market, however, punches well above its weight, and is responsible for some of the very top contemporary art produced and traded globally – including in major art centres like London and New York.

According to the Africa Art Market Report, as of 2017: 10 of the top 20 modern artists (born between 1850 and 1939) and 7 of the top 20 contemporary artists (born after 1940) are South African – an assessment judged by the artist’s value at auction and the number of exhibitions in museums and commercial galleries.

Several examples demonstrate the value that South African modern and contemporary art is realizing in the current market. In a recent auction at Aspire Art Auctions in Johannesburg, a sculpture by Sydney Kumalo, titled Mythological Rider (1970), estimated between R700 000 – 1 000 000, sold for R 1 932 560 (November 2017).

Kumalo was a leading light of the Amadlozi Group

Above: JH Pierneef, Self Portrait, 1921 Left: Modisakeng, Ditaola xv

of modern sculptors. The appreciation in value is because of changes in way these artists have been represented, and a diversification of the market that was largely pioneered by Aspire. This work was also purchased by a black collector, which is indicative of a new understanding and appreciation of SA’s traditional art history. A similar work by Kumalo, Ndebele Reclining Figure, sold in 2007, fetched R155 960. The difference in price between the two works represents a 1200% increase in the artist’s value!

In areas of the art market where value has traditionally resided, such as with work by J.H. Pierneef, the same process pertains. Fifteen years ago, a Pierneef print would have sold for between R1000 and R5000. Aspire recently sold a rare and unusual figurative print by the artist for R47 746, in March 2018. Again, this represents an increase in value of 1000%.

“The African art market in its entirety represents no more than 1% of this global market value, despite supplying more than 20% of the work available from global auction houses.”

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Athi-Patra Ruga, The Night of the Long Knives lll, 2013, Pigmented inkjet print

The market is also accommodating growth in other, more challenging conceptual areas.

In March 2017, Aspire sold a work by young contemporary artist Mohau Modisakeng, Ditaola XV, for R204 624. Modisakeng was the leading light at the 2017 Venice Biennale, showing at the celebrated SA pavilion, and achieved high profile international media coverage.

Another international superstar from South Africa who is leading the change and diversification in the market is performance artist Athi-Patra Ruga, whose work is represented in major international collections and in Cape Town’s Zeitz MOCAA. His Night of the Long Knives III sold at Aspire’s March 2018 auction for R295 568.

The success of these young contemporary artists at auction indicates the full circle that has turned for previously under-represented artists, between, for example, the Amadlozi generation of the1960s, and artists like Ruga and Modisakeng.

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It’s in this contemporary growth segment that Aspire has a strategic focus, a commitment that extends to the Artist’s Resale Rights royalties that the company pays to living South African artists whose work sells at its auctions.

Ultimately, today’s collections and collectors are changing. The same people that were buying historic works a decade ago are today buying much more adventurous and challenging works.

It tells us that fundamentally, art collecting is about what you love and what you want to live with and, that being the case, does it matter what it’s worth?

Aspire Art Auctions will hold their next live auction in Johannesburg, at the Gordon Institute of Business Science, 26 Melville Road, Illovo, on June 17 2018.

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H E R M A N U S

A Celebration of South African Arts

8 - 17 June 2018 a bumper line-up of

artists - musicians - singers - presenters

exhibitions and performances talks and presentations workshops and demonstrations tutored wine tastings and dinners films and a youth programme

hermanusfynarts.co.za for the full programme, to subscribe to the FynArts newsletter, for updates and to become a Friend of FynArts Tickets at webtickets.co.za and Hermanus Tourism Tel: 060 957 5371

Business Art

ALEXIS PRELLER A star feature of Strauss & Co’s upcoming Johannesburg sale www.straussart.co.za

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our impressive works by Alexis Preller, including an imaginative 1950 selfportrait, are among the outstanding works on offer at Strauss & Co’s forthcoming live sale in Johannesburg, due to be held at the Wanderers Club on 4 June 2018.

Highlights of the sale include, along with Preller, contributions by Walter Battiss, William Kentridge, JH Pierneef and Vladimir Tretchikoff.

Two works by Pierneef a top earner at auction and South Africa’s foremost landscape painter, will be on offer, most notably a Lowveld landscape portraying Shingwedzi in the northern part of the Kruger National Park, estimated to fetch between R1.5–R2.5 million.

Great excitement surrounds Preller’s undated intaglio painting titled Poseidon. This depiction of the mythical Greek god of the sea has been held in the same private collection for decades and carries a competitive pre-sale estimate of between R3–R5 million.

Charting a wholly different direction in painting, but no less sought after at auction, is Tretchikoff, whose portrait of a traditional healer holding a green snake is expected to sell for between R2–R3 million.

Erik Laubscher, Still Life with Bowl and Vessel R 250 000 - 350 000 Alexis Preller, Contrapuntal Figures II, R 2 000 000 - 3 000 000 74

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Alexis Preller, Consider the Lizard, R 3 000 000 - 4 000 000

The upcoming sale includes a special focus on abstract painting, and draws together many generations of artists. The offerings include Douglas Portway’s oil on canvas London 62 (estimate R120 000–R160 000), which is dominated by remnants of his African colour scheme following his selfimposed exile to Europe.

Two important contemporary artists, Kagiso Patrick Mautloa and Sam Nhlengethwa, also feature in the sale. Mautloa’s vivid green diptych Tribute to Abstraction (2017–18) carries an estimate of between R60 000–R90 000, and Nhlengethwa’s Image IV (1990), a striking abstract composition from his Thupelo workshop period, is valued at R200 000 –R300 000.

There is a strong focus on contemporary art in Strauss & Co’s Johannesburg sale. Alongside Kentridge, whose colonial landscape drawing, Deep Pool, is likely to sell for between R3–R4 million, this sale includes works by Conrad Botes, Wim Botha, Dan Halter and Clive van den Berg.

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A new survey exhibition dedicated to Sydney Kumalo at the Norval Foundation may help push bidding for this important twentieth-century sculptor’s bronze, Figure on a Bull, past the high estimate of R600 000.

Other noteworthy artists represented on this sale include Erik Laubscher’s Still Life with Bowl and Vessel (estimate R250 000–R350 000), Gerard Sekoto’s Ndebele Women (estimate R600 000– R800 000), and Robert Hodgins’s representation of a rural feast, Fête Champêtre (estimate R800 000–R1 million).

In the lead up to the sale, the company will host an engaging programme of social events and educational tours. For further details consult the website: www.straussart.co.za Press enquiries Bina Genovese bina@straussart.co.za

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We’re searching for South Africa’s best artistic talent.

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Art Life

HERMANUS FYNARTS Focus on Fine Arts at FynArts 8 – 17 June 2018

H

ermanus FynArts, the annual classic style festival that celebrates South African arts and artists, will take place from 8 – 17 June 2018. This year the number of exhibitions and art-related events has almost doubled since the festival debuted in 2013.

The 2018 programme of highlights includes the large FynArts group exhibitions: Sculpture on the Cliffs with the human figure as its subject this year; the ceramic exhibition, Beyond Fire; the Art of Thread exhibition, Collaborative Relationships; and the exhibition of the finalists in the Tollman Bouchard Finlayson Art Award.

There is also a photographic and a jewellery exhibition at the Marine Hotel.

Nineteen galleries and other venues in Hermanus and the Hemel-en-Aarde Village will again present a special festival exhibition. More art exhibitions will be found on wine farms and at Curro School.

The festival also includes many other events related to the visual arts.

The Strauss & Co Lecture Series This popular series includes a number of speakers who will present a wide range of illustrated talks related to South African art and artists: Wilhelm van Rensburg, a Strauss & Co art specialist, will discuss the work of Christo Coetzee, the leading exponent of abstract expressionism in South Africa and Europe in the 1960’s; Judge Albie Sachs who headed the Artworks Committee of the Constitutional Court will show a DVD and talk about the art collection in the Constitutional Court, and Karien Trengove,

Previous Page: Anton Smit, FAITH, Stone Cast Right: Bastiaan Van Stienes, White Room, 60 x 60cm, 2018

“Nineteen galleries and other venues in Hermanus and the Hemel-en-Aarde Village will again present a special festival exhibition. More art exhibitions will be found on wine farms and at Curro School.”

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will talk about the transition from Grain Silos to Zeitz MOCAA as one of the team of South African architects who worked on this project.

Rachel-Mari Ackerman, graphic designer in the Philatelic Services of the South African Post Office will talk about the history of art behind stamps and highlight some design principles.

Other art topics include photography and In Conversation Christopher Hope will talk to photographer, Jennifer Gough-Cooper, who will exhibit her work at the Marine Hotel. The work of well-known cartoonist, Tony Grogan, is solidly based on the art of drawing. Tony will, through a talk and demonstration, discuss the nature and challenges of his work.

A more international slant will be taken by Marilyn Martin in Art Safari 2017, two richly illustrated talks – the one about a pilgrimage to Rome, Pompeii and Venice and the second, a discussion on her visit to the five-yearly Documenta in Kassel and the once in a decade Münster Sculpture Project, both in Germany.

As well as art topics, there are discussions with writers about their books, current affairs and investigative journalism.

The FynArts Legacy Award will be presented posthumously to Hugh Masekela at a special memorial event. Bra Hugh’s sister, Barbara Masekela will accept the Award on his behalf from Richard Cock. Sibongile Khumalo will talk about her professional relationship with the legendary musician.

Anton Smit, Toiva Ya Toiva (Open Arms)

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Bastiaan van Stenis

The Series of Workshops Daily workshops range from a few hours to three days with the latter being Quick Sketches, an artist’s diary, presented by Willie Jacobs. A one-day workshop, Life Drawing, will be offered

by Christopher David Reid, winner of the 2017 Benguela Cove Wine Estate Life Drawing competition. A half-day workshop, Paint en plein air will be offered by Alyson Guy of Volmoed Retreat.

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Ceramic workshops are also on the programme.

On the opening weekend Hennie Meyer will present two, one-day workshops and Tania Babb will offer children aged 7 – 10 years, two half-day workshops - Ravishing Rhinos and Elegant Ellies.

On the second Saturday, Youth Day, Madoda Fani will present a one-day workshop. During the week, a one-and-a half-day workshop on the entire ceramic process from raw clay to the glazed and fired product will be offered by local ceramic artist, Catherine Brennan.

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Three workshop ‘firsts’ for FynArts are micromosaics with Carol Tait, floral art with Alyson Kessel and an introduction to working with pewter, with Heather Fleming. The popular jewellery workshops with Ralph and Heidi Walton as well as photography workshops with Leanne Dryburgh and Peter Hassall are again in the festival line-up.

In addition to these workshops in the visual arts, there are art tours and an eclectic range of art-

related workshops that include writing, making sushi, wine blending, cake decorating, and drumming.

The full programme of music, chef demonstrations, workshops, exhibitions, films and children’s events is at hermanusfynarts.co.za. Bookings can be made at webtickets.co.za, at Hermanus FynArts in the Station Building, Mitchell Street, selected Pick n Pay stores and telephonic on 060 957 537.

ALICEARTGALLERY FOR THE ULTIMATE EXPERIENCE IN ART

SINCE 1990

“To understand a painting you need a chair, so that the weary legs will not disturb the mind!”

HENNIE NIEMANN (SNR)

MORE ABOUT ARTIST

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AUCTION ACTION Results, highlights and lots to watch STRAUSS & CO.

Forthcoming LIVE Auction / Important South African and International art in Johannesburg Monday 4 June 2018 www.straussart.co.za

Above: Walter Battiss, People Who Live Under Tables, R 1 000 000 - 1 500 000 Right: Vladimir Tretchikoff, Witch Doctor, R 2 000 000 - 3 000 000 Next Page: Robert Hodgins, Fête Champetre, R 800 000 - 1 000 000

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ASPIRE ART AUCTIONS Upcoming Winter Auction Johannesburg 17 June 2018 www.aspireart.net

JH Piernieef, Self Portrait, 1921

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Wanted for upcoming auctions art, antiques, furniture and jewellery next auction on Saturday 12th of May 2018

William Kentridge, linocut SOLD R40 000 View previous auction results at www.rkauctioneers.co.za

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

5th Avenue Fine Art Auctioneers

A pril 2018 Auction , p rices Achieved :

Gerard SekoTo, oil Sold For r 540 000

Tienie PriTChard, Bronze Connor MCCready, oil Sold For r 74 000 Sold For r 85 000

F or a u c t i on r e s u lts , F rom 2007 t o p r e s e nt,

a n d a Full archive oF results v i s i t w ww.5 thaveauctions . co . za

Entries Invited for our June 3 rd Auction Enquire: stuart@5aa.co.za ~ 011 781 2040

ASPIRE ART AUCTIONS Upcoming Winter Auction Johannesburg 17 June 2018 www.aspireart.net

Kumalo, Mythological Rider (1970)

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Muratie Wine Estate Stellenbosch Presents

“A Few days in the Languedoc�

An exhibition by

Pippa Lea Pennington

Sunday 6 May 11h00 -16 June 2018 Muratie Wine Estate Stellenbosch.Cecile Blevi 0725535547 www.mokgallery.com. Facebook and Instagram. Gallery hours Monday-Sunday 10.00-16.30 W W W. Areferencing R T T I M E S . C O .a Z Astay in the Languedoc region of7 7 A selection of works in oil and watercolour France.

Piet van Heerden, (SOUTH AFRICAN 1917-1991, Overberg Farmlands, Signed, Oil on Board, 22 x 59 cm, R30 000/50 000

ASHBEY’S GALLERIES CT

Next Fine Arts, Antiques, Jewelry, Silver & Collectables Auction 21 June 2018

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5TH AVENUE AUCTIONEERS

April sale highlights / Next Auction 03 June 2018 www.5thaveauctions.co.za Right: Gerard Sekoto (SA 1913 - 1993) Oil, Township Street Scene, Signed & Dated ‘60, 53 x 64 / sold for R 540 000 Next Page: Connor McCready (SA, born 1987) Oil, Jayne’s Hair, Signed Titled & Dated 2009 Verso, 121 x 91 / Sold For R 74 000

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FYNARTS FESTIVAL ARTIST - KATE GOTTGENS OPENING 9 JUNE 2018 FynArts artists currently exhibiting Titia Ballot, Willie Bester, Wilma Cruise, Hasan and Husein Essop, Marieke Prinsloo Rowe, Jaco Sieberhagen, Jean Theron Louw, Strijdom van der Merwe, Gavin Younge

2 Harbour Road, The Courtyard, Hermanus www.hermanusfynarts.co.za Tel: 060 957 5371

RUSSELL KAPLAN AUCTIONEERS

Next art and antiques auction: Saturday 12 May www.rkauctioneers.co.za

MR. BRAINWASH (FRENCH 1966 - ), Ali, blue acrylic wash and screen print, signed, 123 x 91cm, Sold: R 28,000.00 102

INVITATION TO CONSIGN

Fine Arts, Antiques, Jewelry, Silver & Collectables Auction 21 June 2018 Consignments for this auction close 25 May 2018 info@ashbeysgalleries.co.za / 021 4238060

Piet van Heerden (SOUTH AFRICAN 1917-1991 Overberg Farmlands, Signed, Oil on Board, 22 x 59 cm, R30 000/50 000

People & Places A group exhibition opening Thursday 3rd May at 6 pm, on view 30 April - 2 June ‘The Passage’, Xolile Mtakatya

Mon - fri: 9.30am - 5pm Sat: 10am - 2pm 27 21 423 5309 cgallery@mweb.co.za www.capegallery.co.za

THE CAPE GALLERY

Jono Dry, Morning, Pencil on paper, 70 x 100cm / wwwjonodryart.com 104

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WWW.ARTGO.CO.ZA EXHIBITIONS, GALLERY GUIDE MAY 2018

• Ongoing shows: May 2018 • Opening Exhibitions: May 18 • Upcoming Shows: June 2018 onwards

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ONGOING SHOWS MAY 2018

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ABSOLUT ART GALLERY SEQUENCE & FORMATION AN EXHIBITION OF ABSTRACT ART UNTIL 12/05/2018

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GOODMAN GALLERY JHB BROOMBERG & CHANARIN BANDAGE THE KNIFE NOT THE WOUND UNTIL 26/05/2018 WWW.GOODMAN-GALLERY.COM

UNTIL 12/05/2018

UNTIL 23/05/2018

UNTIL 26/05/2018

OLIEWENHUIS ART MUSEUM BEST BEFORE BY MARGARET NEL 19/04/2018 UNTIL 27/05/2018

STANDARD BANK GALLERY HARMONIA BY GORDON FROUD UNTIL 15/06/2018

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UNTIL 15/06/2018

UNTIL 1/07/2018

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OPENING EXHIBITIONS MAY 2018

Manzart / Autumn Collection

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THE CHRIS TUGWELL GALLERY 01/05/2018 UNTIL 31/05/2018

MANZART AUTUMN COLLECTION 01/05/2018 UNTIL 31/05/2018

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01/05/2018 UNTIL 31/05/2018 WEEK 1 MAY

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NDIZA GALLERY . GORDON’S BAY WC LOCAL IS LEKKA ! SITUATED AT KRYSTAL BEACH HOTEL, GORDON’S BAY. NDIZA GALLERY, SHOWCASES BOTH ESTABLISHED AND UPCOMING L 01/05/2018 UNTIL 31/05/2018 WWW.NDIZAGALLERY.COM

RED! THE GALLERY RICK BECKER “GRAFFITI IN THE KAROO” 01/05/2018 UNTIL 31/05/2018

CROUSE ART GALLERY MIND SHANA 02/05/2018 UNTIL 31/05/2018

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GREEN GATE STUDIO TREES IN TRANSITION REFLECTING MY INTEREST IN LIGHT, COLOUR AND SHADOW, AND THE ATMOSPHERE OF A FOREST. 02/05/2018 UNTIL 31/05/2018

BY APPOINTMENT WWW.PHILIPPAGRAFF.CO.ZA

IMIBALA GALLERY THE IMIBALA COLLECTION 02/05/2018 UNTIL 30/06/2018 WWW.IMIBALA.COM

LANGKLOOF GALLERY AND SCULPTURE GARDEN SHEENA RIDLEY OIL PAINTINGS, PASTELS, SCULPTURES 02/05/2018 UNTIL 31/05/2018 WWW.RIDLEY.CO.ZA

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RUST-EN-VREDE CLAY MUSEUM CERAMICS MARKET AT THE SPOT 02/05/2018 UNTIL 02/06/2018

STELLENBOSCH ART GALLERY FREDERIKE STOKHUYZEN 02/05/2018 UNTIL 31/05/2018

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THE WHITE HOUSE GALLERY A COLLECTION OF MODERN AND CONTEMPORARY ART 02/052018 UNTIL 31/05/2018

ECLECTICA CONTEMPORARY VARIATION/DISTINCTION OPENS 03/05/2018

ECLECTICA PRINT GALLERY NOT YOUR NORMAL 03/05/2018

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02/052018 UNTIL 31/05/2018 WEEK 1 MAY

OPENS 03/05/2018 WEEK 1 MAY

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STATEOFTHEART GALLERY IMMURE A SOLO EXHIBITION BY MINIEN HATTINGH 50 BUITENKANT STREET CT 03/05/2018 UNTIL 19/05/2018

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ART @ 39 LONG GREAT WINTER EXHIBITION FEATURING ART, CRAFT, CERAMICS, GLASS 10/05/2018 UNTIL 10/07/2018 WWW.39LONG.GALLERY

IS ART GALLERY PROJECTED HERITAGE. PAINTINGS BY ELIZABETH MILLER-VERMEULEN AND CERAMICS BY MADODA FANI. 06/05/2018 UNTIL EARLY JUNE 2018 021 876 2071

03/05/2018 UNTIL 19/05/2018 WEEK 1 MAY

10/05/2018 UNTIL 10/07/2018 WEEK 1 MAY

06/05/2018 UNTIL EARLY JUNE 2018

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TERESA PAINTS WATERCOLOURS AND OILS DEPICTING THE CAPE LANDSCAPES IN HER DISTINCTIVE STYLE. 02/05/2018 UNTIL 31/05/2018 WWW.TERESADECINTI.IT

WEEK 1 MAY

ONLINE STORE

Soon you will be able to shop for prints by your favourite ar st on our online store.

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RUST-EN-VREDE GALLERY ENDLESS HORIZON GROUP EXHIBITION 08/05/2018 UNTIL 13/06/2018

RUST-EN-VREDE GALLERY JUDY WOODBORNE - ALTERNATIVE HISTORY - SOLO EXHIBITION 08/05/2018 UNTIL 13/06/2018

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06/05/2018 UNTIL 10/06/2018 WEEK 1 MAY

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SMITH AN ABANDONNED SAINT AND OTHER FORGOTTEN STORIES 10/05/2018 UNTIL 07/06/2018

STEVENSON JHB MAWANDE KA ZENZILE UHAMBO LUYAZILAWULA 12/05/2018 UNTIL 29/06/2018

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AVA GALLERY PPC IMAGINARIUM 2018 (MAIN GALLERY) AND ADELE VAN HEERDEN IN MEMORIAM (MEZZANINE GALLERY) 17/05/2018 UNTIL 14/06/2018 WWW.AVA.CO.ZA

10/05/2018 UNTIL 07/06/2018 WEEK 2 MAY

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CIRCA GALLERY IN THE FORESTS OF THE NIGHT 17/05/2018 UNTIL 16/06/2018

STEVENSON CPT ODILI DONALD ODITA OTHER WORLD 22/05/2018 UNTIL 30/06/2018

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EVERARD READ LINKING PEOPLE WITH PLANTS THROUGH CONTEMPORARY BOTANICAL ART 17/05/2018 UNTIL 16/06/2018 WWW.EVERARD-READ.CO.ZA

17/05/2018 UNTIL 16/06/2018 WEEK 3 MAY

17/05/2018 UNTIL 16/06/2018 WEEK 1 MAY

OPENS 05/04/2018

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NiCOLAAS MARiTZ STUDiO & GALLERY Digital Prints 5 Nemesia Street Darling South Africa by appointment

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Vincent Art Gallery The home of Contemporary Fine Art and the Masters.

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ArtEC - EPSAC Community Art Centre artEC is a non profit organisation Vincent Art Gallery Theset home of and Community ArtART Centre, up for the VINCENT GALLERY Contemporary Fine ArtVisual and the advancement of the Arts Masters. and Art 8 DAWSON RD, SELBORNE We also offerWorking professional Craftsmanship. to uplift framing, the arts decor, ceramics, pewter, semiin the Eastern Cape, South Africa, helping Fifth Avenue Fine Art Auctioneers The precious and a silver jewellery, artists andstones encouraging public interest in June Auction, 11/06/2017, 404 www.vincentartgallery.co.za the arts, www.facebook.com/ArtECPE WWW.VINCENTARTGALLERY.CO.ZA Jan Smuts Avenue, Craighall Park, www.5thaveauctions.co.za Gauteng EC - EAST LONDON

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Swelco Studio A revolving exhibition of paintings, prints, sculpture and photography featuring a range of artists such as Ndabuko Ntuli, Patrick de Mervelec, Daniel Novela and Allen Hallett, amongst others. Shop L38, Nelson Mandela Square, Sandton, www.

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The Bag Factory Artists’ Studios Call KEYES ARTCareer MILEBootcamp, for Applications - Artist 29/05/2017 till 01/09/2017 ART & DESIGN SATURDAY AT KEYES ART MILE Fifth Avenue Fine Art Auctioneers The June Auction, 404a Graham’s Fine Art11/06/2017, Gallery Exhibits WWW.KEYESARTMILE.CO.ZA Jan Smuts collection Avenue, of Craighall significant important Park, South www.5thaveauctions.co.za African and international contemporary art, JHB Bryanston, www.grahamsgallery.co.za

Chris Tugwell Art Gallery The Chris Tugwell Galleries, in existence for over fifty Centurion Art Gallery The ‘Centurion years, showcase work from some of South Art Gallery’ is a commercial satellite of Africa’s most exciting and talented artists. the Pretoria Art Museum, Lyttelton Manor, This includes paintings, ceramics, glass and www.tshwane.gov.za/sites/tourism/Artslimited edition bronzes and sculptures by Swelco Studio A revolving exhibition of Culture-and-Heritage/Pages/Centurion-Artwell-known South African masters, Brooklyn, UJ ART GALLERY paintings, prints, sculpture and photography Gallery.aspx Pretoria, www.christugwell.co.za EXHIBITIONS, CONCERTS featuring a range of artists such as Ndabuko AND A RANGE OF CULTURAL Ntuli, Patrick de Mervelec, Daniel Novela and Allen amongstArtists’ others. Studios Shop Mpumalanga L38, Touch GeniusArtists’ Gallery New Artists AND ACTIVITIES. The BagofCREATIVE Factory Studios Call The Hallett, Bag Factory Call Nelson Mandela -Square, Sandton, www.

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Wall Art Gallery Wall presents a collection of works where the formal affinities between the painted and incised wood panels of Cecil Skotnes and Lucky Sibiya; drawings of Sydney Kumalo and Ezrom Leagae and the bronzes of Zoltan Borbereki, Edoardo Villa and Christopher Sydney KumaloMoller are clearly discernible, Gallery V&A Waterfront, www.wallsaart.co.za www.christophermollerart.co.za

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The La Motte Museum Offers a culture-historical experience featuring the estate’s history and architecture.

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Robertson Art Gallery Should you find yourself in the Robertson Wine Valley on Route 62, pay a visit to this gallery, where you’ll find a carefully curated selection of art by top SA artists, as well as a large range of sterling silver jewellery, Robertson, www. robertsonartgallery.co.za WC - STELLENBOSCH

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In Cattle of the Ages – Ankole cattle in South Africa (R850), Cyril Ramaphosa reveals his passion and love for cattle as he introduces us to the magnificent Ankole cattle, originating in Uganda, and now, through his intervention, flourishing in South Africa. He reflects on the legacy bequeathed him by his father, Samuel Mundzhedzi Ramaphosa, who had to leave behind his cattle herd in Venda to find work in Johannesburg. The love of cattle runs deep in South Africans and Cyril is fulfilling his father’s legacy, instilling a new pride for South Africans with these remarkable cattle. A few years ago the Nguni reigned supreme, now the attention and focus is on these animals with their soaring horns. This hardcover book is designed

by Gabrielle Guy and will become a collector’s piece.

The Owl House (R320) is a visionary outsider art environment unlike any other, located in the small village of Nieu Bethesda in the isolated South African Karoo, what was once the childhood home of Helen Martins was transformed into a work of uncommon originality. During her lifetime, Helen was misunderstood and was widely regarded as being ‘crazy’. Living in seclusion on a meagre pension, she created the Owl House in the face of much adversity.

Lacking any formal art training and using materials readily at hand – recycled glass bottles, builders cement, mirrors and wire – she created what is now internationally regarded as an outsider art environment of outstanding interest.

Assisted by helpers – chiefly Koos Malgas who under her supervision built many of the statues in her sculpture yard – she spent more than twenty-five years creating the Owl House, increasing the complexity and density of the work by a slow process of accretion. The Owl House remains a powerful testimony to the triumph of imagination.

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The Big Picture (R400) is Natalie Knight’s Art-oBiography - part-memoir, part-art history, filled with beautiful art images, society photos of the time and the stories behind many of the pieces she sold. Natalie rubbed shoulders with the who’s who in the art and socialite world during her ‘reign’ as owner of the landmark gallery in Hyde Park(1980-1995). She also discovered, exposed and worked with many South African artists before they were well-known names – including Willem Boshoff, Esther Mahlangu, Alfred Thoba and Thomas Kgope.

In her Art-o-Biography, Natalie remembers the guts, glory (and a little gossip) of the South African art scene of the eighties – with all its ego, talent, quirkiness and glamour. This book is a beautiful photographic romp through art and social history.

Editors choice from the global art media

WESTMINSTER ARTIST’S REPUTATION ‘SULLIED BY LONDON GRIME’ Conservators unearth truth about Daniel Maclise, whose status was sullied when his murals turned murky First published n The Guardian UK 19 Apr 2018 / By Maev Kennedy

Epic Battle of Waterloo drawing restored for bicentenary exhibition

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curator of works of art in the palace. “The one thing I hope we can do is to turn back the clock and give poor Maclise his due.”

Relief for Dickens museum as experts say portrait of writer’s wife is genuine “It is a tale of horror and disappointment,” said Malcolm Hay,

The unveiling of the two gigantic paintings in 1865 – 100 sq metres, heaving with soldiers and sailors, guns and horses, depicting the meeting of the victorious generals Wellington and Blücher after the battle of Waterloo, and the death of Nelson at Trafalgar – should have been the greatest moment of of the artist’s life. Each had taken a year to paint and years of research.

lmost 150 years after he died, ending his life exhausted and depressed at apparent failure, the Irish artist Daniel Maclise has been vindicated: it was London filth, not his technique, which tarnished his reputation and the surface of his two masterpieces, the biggest paintings in the Palace of Westminster.

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â&#x20AC;&#x153;Conservators are gently removing grime-infused wax and discoloured varnishes as well as the soot and dust trapped in the layers.â&#x20AC;?

Instead his work was greeted with moans about the cost and shock that the surface of the earlier painting was turning black.

A large conservation project has now started to improve on at least 30 previous attempts to make the paintings look better. Conservators are gently removing grime-infused wax and discoloured varnishes as well as the soot and dust trapped in the layers. Where the wax cannot be cleared without causing further damage, gentle warming to melt it slightly can cure the white bloom which makes the paintings even murkier.

The murals were painted using the water-glass technique on plaster.

Conservators work on Daniel Macliseâ&#x20AC;&#x2122;s murals.

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Daniel Maclise mural being cleaned by a conservator. Facebook Twitter Pinterest The murals were painted using the water-glass technique on plaster. Photograph: Martin Godwin for the Guardian Originally the paintings were full of vivid details in red and blue. Now, on a dull day, the yellow overhead lamps help turn them sepia. Depictions of the weapons, uniform and equipment – meticulously researched by the artist, who interviewed veterans, read accounts of both campaigns, and studied relics including Wellington’s sword and the real coat Nelson was wearing when a French sniper landed the fatal shot – are all lost in the gloom. However, better lighting, experiments have proved, will also add to the dramatic difference.

Maclise was the envy of every other artist in England when he won the commission to create two enormous frescoes, each costing more than £3,000, to decorate the Royal Gallery in the House of Lords when the palace was rebuilt after the fire of 1834. His fullscale drawings were a sensation at the Royal Academy, and created a buzz again in 2015 when they were exhibited for the first time in a lifetime.

The Fine Arts Commission, led by Prince Albert, had insisted on the works being in fresco – seen, according to Hay, as the noblest art form. Albert sent Maclise to Germany to study the technique, which involves painting

on dry plaster then spraying with a fixative.

But by the time the paintings were complete Albert was dead, and the public was fed up with the endless palace work and its costs.

The blackened paintings were attributed to the painter’s technique and materials, and Albert’s alien German fresco. “I think there was a very cold wind blowing on Maclise after Albert’s death,” Hay said.

The conservation work, which has involved research by academics in Germany on the fresco technique, has absolved both men of blame. Despite damage from leaking windows, settlement cracks probably dating from the 19th century, and the near destruction of the gallery in the second world war when masonry from a bombed tower crashed through the roof, the frescoed plaster is still sound.

“None of it was poor Maclise’s fault,” said Caroline Babington, collections care manager.

“The place was still a building site and the whole city was burning coal. It wasn’t the paint turning black, it was just filthy London air.”

The work will cost about £100,000 – but will also provide a condition check for the paintings before the project is dwarfed by the epic and bitterly contested restoration of the entire decaying Palace of Westminster, tentatively costed at between £3.5bn and £5.7bn.

“None of it was poor Maclise’s fault,” said Caroline Babington, collections care manager. “The place was still a building site and the whole city was burning coal. It wasn’t the paint turning black, it was just filthy London air.”

Clément Sénèque; The Point, From the Bluff, Linocut

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