SA Art Times: March 2008

THE SOUTH AFRICAN

ART TIMES

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JOBURG ART FAIR SPECIAL

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Minnette Vári , The Falls II, 2008. Pigment ink on cotton fibre paper. Courtesy of the artist and the Goodman Gallery.

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South African Art Times. March 2008

Art Times March 2008 www.arttimes.co.za Published monthly by

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Editorial The Joburg Art Fair is burning on everyone’s lips and ears. Never has South Africa had such an international art fair – for now at least, a blip (here on the big dark continent) on the international art radar (over 250 art fairs internationally and counting).

The real thrill is that for once things seem to be well organized, especially for it’s first time, the folk in Johannesburg seem to know what to do. With this event there is a welcome lapse of promises by organizers of 10 000’s of any artists being included and later pie in face stuff.

It seems that Ross Douglas and Cobi Lauscagne really have done their

homework and placed every of their own pennies into it , as well as FNB bold backing. The Fair might be small in proportion to the SA art market (there have been groans throughout the 98% of galleries not invited) but one has to start somewhere and if the Fair is a success, you can be assured that people having woken up and smelt the possible money in art fairs. In addition, the success of the show raises the whole of the SA art in an international light. My bet, and congratulations are on Ross and Cobi and their dedicated team to go forth and given time make that blip strong and bright the world over.

King Shaka will be high... but not that high Patrick Burnett CAPE TOWN (WCN) The KwaZulu-Natal provincial government has downplayed reports that a giant statue of King Shaka is to be built in the province, refusing to be drawn on the height or cost of the structure.

Initial newspaper reports suggested that the statue would dwarf the Statue of Liberty in New York by 13 meters, rising 106-metres into the air and coming at a price tag of R200m, but Logan Maistry, spokesperson for KZN Premier Sbu Ndebele, said: “I don’t know where they got those figures from.”

He said architects were still busy with the design and costing, making it impossible to give a height and cost. However, he said: “We can confirm that it is going to be a high statue.”

In his State of the Province address on February 13, Ndebele said as part of efforts to attract investors to the province, a Memorandum of Understanding had been signed on January 8

between the KZN government and an international developer in Dubai. He said the project involved a multi-billion rand investment on the Northern side of the uThukela River in the Macambini area.

Maistry said one of Ndebele’s passions was to “restore heritage and culture to its rightful place”.

“The premier is of the belief that culture and heritage plays an important part in bringing about reconciliation and peace.”

But DA provincial caucus leader Roger Burrows said: “At the moment, the whole thing remains remarkable vague.”

He said he did not believe the project would happen until someone was prepared to put money into it. Maistry disagreed with suggestions that money could be better spent on social needs.

“We think it is absolutely important that in order to move forward we need to know where we come from. People want to know about King Shaka, they want to know the story.”

West Cape News

This years winner of the Mercedes-Benz South Africa 2008 Art Award, Sculptor Kevin Brand

Brand sets the world on fire Patrick Burnett CAPE TOWN (WCN) – The first entry in artist Kevin Brand’s hefty portfolio of work that stretches back over 25 years is a photograph of a cast cement work which says simply, “Kevin Brand Makes Things.” Brand’s commitment to making things, spanning back to 1982 as a young graduate from the University of Cape Town’s Michaelis School of Fine Art, paid off in January when he was rewarded with the Mercedes-Benz South Africa 2008 Art Award.

A sculptor by training, over the years Brand has carved out a niche for himself making things on a grand and small scale, from the steps of District Six, made out of seven tonnes of cardboard, to the iconic Sam Nzima image of Hector Pieterson taken during the 1976 Soweto uprising and transposed on the Leerdam wall of The Castle in Cape Town.

The judges in the Mercedes-Benz Art Award recognised Brand’s work for his commentary on

the

The South African

South African society, his use of non-traditional sculpting materials and the way in which his work has been made accessible through its location in public spaces.

“Being recognised for the body of work that you have done throughout your career, that is the nice thing about it,” said Brand of the award, speaking from his offices at the Cape Town campus of the Cape Peninsula University of Technology, where he works.

Many of Brand’s creations have carried a powerful commentary about life in South Africa, such as 19 Boys Running, based on the 1985 Uitenhague Massacre or Never, Never Again, the District Six piece created out of cardboard, but this is also not at the expense of exploring intimate, personal spaces.

Brand likens this duality to a realisation that it’s possible to embrace both the Beatles and the Rolling Stones. A choice doesn’t need to be made because both can be encompassed.

“What I’m trying to do is make

art room

sense of my time on this earth and sometimes there are sad things to make comments about and sometimes there are intimate and happy things you want to make comments about, so you can do all those things at the same time,” he said.

Brand maintains that he did not set out to work in public spaces but that some of his work lent itself to this.

“I make it for myself initially, but I also like it to be accessible to people who have not been to art school or even been to school. I like to work it so there is some visual magnet for them and they can get something out of it.”

Brand’s next exhibition, Set the World on Fire, is scheduled for display at the Bell Roberts Gallery in May. -- West Cape News

South African Art Times. March 2008

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Sexier than rock ‘n roll

Joburg fair aims to use art to keep talented professional in the city

By Aspasia Karras From: The Times, South Africa ART is the new rock ‘n roll, and artists the new rock stars. It’s true the world over.

At Art Basel and Frieze in London, celebrities in sneakers make the 100m dash on the opening night of the art fairs so they can be first to spend their celebrity dollars on the dernier cri (the latest thing) of the art world.

There are about 240 art fairs that take place around the world, but some have the kind of cachet and frisson that attracts the high-octane, jet-setting types you associate with the social pages of glossy magazines.

Art is sexy right now and Ross Douglas is propelling Joburg into this heady firmament. I’m not feeling very heady myself as I wade through the building site in Milpark where his Artlogic offices are housed the week before the city’s debut Contemporary Art Fair is due to open.

Sponsored by FNB, the fair will represent 15 of the country’s top galleries, six international galleries and a series of art events — including a show curated by Simon Njami, the curator of Africa Remix; an installation by internationally acclaimed South African artist Robin Rhode; and a screening of William Kentridge films.

But after a few minutes with Ross I’m sold. It’s not that this laconic fellow, who is resting his Converse-clad feet on a Gregor Jenkin designer desk, is particularly excitable but, in his measured way, he makes a convincing business case for urbanity and culture.

“We have got to push the creativity of the city and give South Africans an equivalent experience to what they can get overseas. A country

Were it will all happen: Sandton Convention Centre. (Photo not part of the Times article) Photo: John Hodgkiss needs creativity and South Africa is an easy place to be creative.

If you invest in creativity it keeps creative people invested in the society.

London is so clever. It captured it creativity market and as a result it is a sexy place. If you want keep the talented professionals in your city you have to give them the culture that they can get globally.”

Hosting an art fair in the current psychological and economical climate in the country seems almost counter-intuitive — art is not exactly a bread and butter issue.

“Our market is busy immigrating Australia,” he half-heartedly jests, “and it can seem a devastating blow ...

But it’s time to kick off in South Africa. “We have spent every cent we have here.

I have six friends who have been shot dead, but 1 cannot let that undermine our hope for the future.”

His specific hope for the future lies in creating “something sustainable and commercial, that captures the imagination.

“We wanted to make a fair that is sustainable, critically acclaimed and unique enough that it will attract foreign visitors. We are a niche market and unique player in the international art world, and the only art fair in Africa dedicated to African art,“We are lucky because there is a lot of interest. African art is huge internationally and our artists arc internationally acclaimed.”

Ross’s company, Artlogic, uses art events to promote companies and brands. In this instance, FNB will provide the brand kudos.

He came to this field via film production, which he abandoned because he was disappointed in the prospects of the South African film industry.

“In Africa, of all the creative industries art is the only one that is not reliant on a big economy. Think of what it lakes to produce a film or even take a theatrical production on tour.”

“We are culturally conservative in South Africa but we are at a crossroads, Contemporary art in its essence breaks down and challenges stereotypes,” Perhaps an art fair is precisely what we need right now, as we seem to be battling for our country’s very soul.

• See www.joburgartfair.co.za more in information Composite

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South African Art Times. March 2008

Warren Editions creates a ‘democratic’ art market As Warren talks of her background, printmaking knowledge and how she wants to “democratise” the art market, the answer to the question: why would an artist want to come work with her, becomes clear.

“There is a market for prints,” she says, “it is strong and stable and is growing steadily.”

Publishing an edition of prints is attractive to many artists, “especially if they are working in a slow medium like large wood sculptures, for instance, which takes ages to create one piece” and the value of which would be out of reach for the average person.

“With prints, more people have access to your work, it’s an edition.

It’s more democratic. It provides for the middle market. It’s beneficial to all.”

She says editions of between 20 and 30 prints, each of which is sold for under R5 000, is best, allowing middle-income earners who realise the value of investing in original art produced by up-and-coming artists, to enter the market.

But publishing a set of print editions is not necessarily ideal for every artist.

After years spent locally and overseas Zhané Warren of Warren Editions sets up shop in Cape Town.

Steve Kretzmann CAPE TOWN (WCN) -- Within each city are any number of iconic spaces which get reinvented over time. In Cape Town, one of these spaces is the top floor of a vertical four-floor building on the corner of Bree and Dorp Streets, known to many as the Loft.

With its open plan warehousedesign and screed cement floor juxtaposed by a sloping loft-style ceiling, it was a trip-hop rave

home-away-from home for hundreds of Capetonians who partied away the mid-‘90s.

Fast forward and the Loft shifts through a muso’s gig space, offbeat advertising studio ‘Daddy Buy me a Pony’ office studio and acclaimed Afro Magazine HQ, to its latest exciting incarnation: the headquarters of brand new print publishing company Warren Editions, established by Zhané Warren in October last year.

And as the Loft was indicative of

the zeitgeist of the ‘90s, Warren seems to embody what is becoming more common in the mid ‘naughties – young entrepreneurs doing what they love and making it work for them. In Warren’s case, what she loves is printmaking and with a certitude belying her 31 years, she has set herself up as one of only a handful of print publishers in the country.

At the top of the long narrow stairwell Warren, petite as she is, seems dwarfed by the ample

Photo: Steve Kretzmann space and light that floods into her studio and one half expects to find a squadron of workers beavering away in the nooks and crannies.

But it seems Warren has all the space to herself and whichever artist she happens to collaborate with.

And although she is yet to publish her first edition of prints by Hentie van der Merwe, she already has six top young artists lined up to work with her.

“It needs to be an artist whose work can be translated to printmaking, and whose work I find exciting and respond to.”

For the artist, experience in printmaking is not essential. “It’s quite exciting when they don’t have any experience,” she says, as she enjoys the process of discovery the artist encounters.

This may be because Warren seems to thoroughly enjoy leading others through the technical process of intaglio printing, and her speciality, aquatint.

Even as a student at Stellenbosch, she says, she used to prepare fellow student’s plates simply

because she didn’t mind doing it, asking nothing more than one copy of the print in return.

Her mastery of the process led her to being employed as the studio assistant during her undergrad years, cementing her knowledge and earning her some pocket money in the process.

Then it was five years spent on a scholarship in one of the world’s printmaking capitals, Antwerp, which led to her expanding her repertoire and mastering intaglio techniques little known in South Africa.

Yet although she obtained her MFA at the University of Johannesburg in 2006, the term ‘master printmaker’ is one she shies away from.

“It’s a rather heavy term,” said says, but her ability to take care of the technical processes, and show the artist how best to achieve certain effects, frees the artist to concentrate on the actual markmaking and creation of tone and texture, producing a true collaborative effort.

And with Warren Editions taking care of the subsequent ‘business end’ – the consignments, gallery hangings, sales and invoicing – and handing the majority of the profits (60%) back to the artist, it’s likely she’ll soon have a number of artists knocking on the door to her loft.

In the meantime, we can look forward to saving for prints by Hentie van der Merwe and the other artists she’s already got lined up in her appointment book, which include Paul Edmunds, Conrad Botes, Claudette Schreuders, Luan Nel and Henk Serfontein, as well as Tom Cullberg, whom she is currently working with. -- WCN

South African Art Times. March 2008

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Deception, betrayal at heart of Pretoria art theft haul

Mike Bollhuis, from Specialized Security Sevice (SSS) examins one of the recovered South African master art works. Photo: Pretoria News

Steve Kretzmann CAPE TOWN -- Behind last month’s investigation and recovery of large number or artworks stolen from a Pretoria businessman is a story of betrayal and broken friendship which has also left a number of Tshwane galleries red-faced.

Close on a million Rand’s worth of art was stolen from private collector and Pretoria vacuum cleaner salesman Andre Prinsloo, allegedly by his friend and business partner Victor Mulder.

And it appears some of it made its way onto gallery walls.

With 52 works by Otto Klar, an Adriaan Boshoff landscape and a handful of other South African artists included in the haul, it could well rank as one of the larger art

thefts, in terms of number of works stolen, in the country.

Although it appeared the paintings, particularly those by Klar, were stolen over a matter of months, it was the theft of the Boshoff painting, valued at close to R60 000, which led to investigations being initiated.

Prinsloo said he had owned 124 of Klar’s paintings, bought from Klar’s heir and stepson Klaus Fischer, and had also collected a number of other paintings over the years which he had set aside as an investment for his “pension”.

But it appeared as if Mulder, who had been working with him in the vacuum cleaner sales business since November last year, knew the worth of Prinsloo’s collec-

tion – the Otto Klar’s were worth between R8 000 and R25 00 each – and had his own designs.

But Prinsloo was unaware of the work being stolen from his house until the Boshoff landscape was stolen during a “staged” break-in at his house on February 1.

Thereafter, Prinsloo said he immediately began notifying galleries to keep a lookout for the missing paintings.

He said it wasn’t long before John West Art Gallery phoned him back to say they might have one of his paintings.

West said he had come to be in possession of the Boshoff painting after having purchased it from an art dealer he knew, who in turn had bought it from Mulder after responding to an advertisement in the Junk Mail.

West said the dealer, upon meeting Mulder, realised he knew Mulder’s father, which established a level of trust.

While negotiating purchase of the Klar paintings, Mulder apparently mentioned he also had a Boshoff painting, which was brought out.

“He bought it and offered it to me,” said West, who valued it as worth “between R55 000 and R58 000”.

After finding an interested client, he “heard from a friend that a Boshoff had been stolen”.

He said he got hold of Prinsloo and asked him to describe the painting.

“I said to him (Prinsloo) I’ve go an Adriaan Boshoff here that sounds like it’s the same. If you can send me a copy of the certificate of authenticity we can sort it out.”

At this point the head of investigating firm Specialised Security Serv-

ices, Mike Bolhuis was called in, West told him where the painting had come from and it was rapidly traced back to Mulder.

Speaking on February 29, Bolhuis said “all” the stolen works had been recovered and Mulder, who had been kept in police custody since his arrest on February 5, had made a full confession.

He said when word went out that SSS was investigating, a number of galleries had called to say they might unwittingly be stocking the stolen art.

This included a couple of “top” galleries in the elite Waterkloof Ridge area, as well as a number of galleries in Brooklyn.

“Most of them were very embarrassed,” he said.

But he said Mulder had been stealing art from Prinsloo for some time and had gotten good at “spinning stories” about how he had come to own the art.

He said Prinsloo’s mistake was that he didn’t keep his collection under “lock and key”, but stashed it in various places around his house.

He said Mulder, who had pleaded guilty in court, was unlikely to get a jail sentence but would most probably receive a “very stiff fine”.

“It was what we call decisive and intelligent theft, he had done his homework and it seemed, although he stole and sold the artworks on his own, that he had obtained advice from other criminals who dealt in the art market.

“He knew what the work was worth and asked about one third of the value when he sold it. This was enough to make a greedy person buy it without asking too many questions.” -- WCN

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Irma Stern (1894-1966) ‘Young Malay Maiden with Black Hair’, Oil on Canvas, 65.8 x 55.5cm, Signed: "Irma Stern" (Upper/Left). Dated: 1938

SIGNIFICANT SOUTH AFRICAN INVESTMENT ART Graham’s Fine Art Gallery boasts the finest selection of South African 20th century masters including: Frans Oerder, Hugo Naudé, Bertha Everard- King, Pieter Wenning, Nita Spilhaus, Pranas Domsaitis, Ruth Prowse, Maggie Laubser, JH Pierneef, Irma Stern, WH Coetzer, Cecil Higgs, Freida Lock, Maud Sumner, Wolf Kibel, Ruth Everard-Haden, Walter Battiss, Elsa Dziomba, Maurice van Essche, Rosamund King Everard, Fred Page, Gregoire Boonzaier, Alexis Preller, François Krige, Gerard Sekoto, Eleanor Esmonde-White, Robert Hodgins, Piet van Heerden, Stanley Pinker, Cecil Skotnes, Erik Laubscher, Peter Clarke, Christo Coetzee, Helmut Starcke, Henry Symonds, Simon Stone, Karel Nel. Any potential buyers who want to invest in South African masters and who are planning to procure a top quality art portfolio, can contact Graham Britz for an appointment.

Shop 46, Broadacres Lifestyle Centre, Cnr. Cedar & Valley Roads, Broadacres, Fourways.

Graham Britz 083 605 5000 Sarah Keys 084 568 5639 Gallery 011 465 9192

www.grahamsfineartgallery.co.za

South African Art Times. March 2008

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Poor quality print reproductions that were on sale at Mr Price (above) vs quality artist’s print (below)

Top SA artist short-changed by Mr Price Patrick Burnett CAPE TOWN (WCN) -- The saying imitation is the best form of flattery has taken on a sour meaning for an internationally recognised Garden Route artist after he was astonished to find that poor quality prints of his work were for sale at Mr Price Home -- without his permission.

In an embarrassing move, Mr Price has since been forced to withdraw stock of the R159.99 apiece prints of paintings by artist Peter Pharoah, after he complained to the retailer.

“We were so angry about it,” said Tracey Pharoah, Peter Pharoah’s wife and manager of the Pharoah Gallery in Wilderness, about walking into a Mr Price store in George

in December and seeing the prints.

She said high quality prints of her husband’s work had been done legally by Universal Prints in Germany, but that the Mr Price prints had been “ugly and embarrassing”. It is believed the Mr Price prints came from reproductions made in China, copied from the prints made by Universal Prints.

“The face of one picture is completely destroyed, she looks like she has been a victim of domestic violence,” she said of the painting African Grace, one of those copied. Pharoah said the infringement had been concerning as people would think the prints represented the quality of her husband’s work. Each print sold could have been a genuine print

sold that would have benefited the artist.

She said at the time they had consulted a lawyer, but that United Prints had since informed them that they would be dealing with the legal aspect as they held copyright on prints.

Contacted by email, Universal Prints managing director Kejwan Valandiz did not rule out legal action, saying his lawyer had been in contact with a South African lawyer to “bring the jurisdiction to Germany”.

Valandiz said he would inform the European Art Copyright Coalition, of which they were a member, so they could organise against Mr Price.

A Mr Price Group spokesperson

said that by the end of January 2008 “all copies of the offending art work had been recalled from our stores countrywide”.

“We are appreciative of the fact that this allegation of copyright infringement has been brought to our attention, which has allowed us to take the necessary corrective action.” In explaining the situation, Mr Price said stock was sourced on the basis that suppliers had already been cleared of copyright issues.

“This particular incident involving Mr Pharoah’s work appears to be an unfortunate act of copyright infringement by the supplier. Mr Price would never knowingly support this and the matter has been taken further by our attorneys.”

-- West Cape News

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South African Art Times. March 2008

Hout Street Gallery

David and Gail Zetler. 270 Main Street, Paarl, 7646. Phone + 27 (0) 21 872 5030 Fax + 27 (0) 21 872 7133 E-mail: zetler@icon.co.za www.houtstreetgallery.co.za Artwork: Peter Fincham, Afternoon Shadows

We represent these artists:

Original Art, Etchings, Sculpture, Ceramics.

Ben Coutouvidis Alice Goldin Wendy Rosselli Lyn Smuts Phillipa Allen Hardy Botha Theo P. Vorster Judy Woodbourne David Riding Cecil Skotnes and others.

South African Art Times. March 2008

Page 9

Man for All Art Seasons - A tribute exhibition for doyen Joe Wolpe

Joe Wolpe in his famous Wolpe Galley at Impala House in Castle Street during th 1980s. Photo: Harry de Zitter.

Melvyn Minnaar At the age of 85, Joe Wolpe is the not the lion in winter, but still buckagile in his scouting out of the art scene, locating the sharpest, brightest art. Encouraging where and when required. The legendary humility and friendliness lingers, so does the wicked sense of humour as well as the invitation to discuss it all over a cup of coffee.

Observing those blue-grey eyes dash about from under those dense brows, beneath the famous greying Wolpe tangles, as he assesses an artwork, is an experience itself. You see him looking, perhaps a smile playing on his face, and his mind paging though a life-long reference library of visual experience to suss the painting or whatever placed in front of him. And then he’ll tell you what he thinks straight, in an

old-fashioned diplomatic dealer’s way. Of course there are lots more, but essentially two things have made Joe Wolpe the famous art dealer he is: his love and brilliant perception of art, and his passion to engage on these terms with other people, whether these were/are artists, collectors, museum personnel, other dealers or friends.

For decades Wolpe was the art dealer in Cape Town. Then he gave it up and, to the surprise of a few, but the cheer of many, he started making art. And today - while some have made it into the good public collections - Joe Wolpe’s small paintings and delicate constructions are mostly treasured by those in the know, those close, those who share what is in essence a Wolpe Cape culture.

It has been a quiet world this, not

too public - all in the nature of the man, his dealings and art. But a clever exhibition at the South African Jewish Museum in the Gardens is putting the spotlight on this character without who Cape Town’s art scene would not be what it is.

as public collections. The proof of the famous fine Joe eye is all too evident in the latter.

Humorous and witty like the man, the title resounds on a number of levels, not the least to the fact that no transaction would have been finalised without a cup of coffee shared in any of the venues and galleries he inhabited over the decades.

Over coffee the conversation would be convivial and upbeat, even when a major sales agreement was being negotiated. And when concluded, the latter would be nothing but be satisfactory to all parties. Wolpe is too much of a dyed-in-the-wool art lover to flog stuff foolishly. And local history stands as testimony, as well as artist careers. finely-tuned exhibition of Irma

It is possible to argue that his Stern’s art at the Wolpe Gallery in Strand Street in 1966 ignited the enthusiasm which now drives her current auction sales to beyond the millions. It was a wow of a show.

Turn the clock to 1983 and the buzz of his famous space upstairs in Impala House in Castle Street, and it is the turn of Francine Scialom Greenblatt to set the local art world alight with her gloriously exotic, erotic female nudes on a very large scale. For weeks this exhibition was the talk of the town, while Joe held firmly onto his naughty smile.

That was the same year that Joe Wolpe quietly negotiated the acquisition by the South African in the Iziko collection: Ronald Mountains (1982). Kitaj, who died

last year, had just become the National Gallery of what is today one of the most valuable paintings Kitaj’s deliciously enigmatic In the darling of the international scene and getting this picture for Cape Town was a triumph.

So was the acquisition of another of the great late-20th century works in the Iziko collection: Frank Auerbach se Head of Julia (1981) and, in 1985, a valuable earlier painting, Maurice de Vlaminck’s Arbre Au Tourniquet, Chatou (1910).

These works, beautifully on show in When Cape Art was Coffee with Joe are genuine proof of Wolpe’s skills as international art dealer.

But, in the final instance, a grand tribute to his remarkable eye for great art.

A tribute to the life and work of Joe Wolpe who will turn 86 on July 9 this year, the exhibition is titled When Cape Art was Coffee with Joe and traces his career from the time he took over his father Max’s framing workshop in Lelie Street, through to his work as a gallerist, dealer in local and international art, and artist of note.

The exhibition comprises enchanting nostalgic photographs, examples of his own fine artworks, but also impressive paintings and sculptures that he facilitated the acquisition of for private as well.

Wolpe and Hayden Proud, Iziko curator, with the painting Arbre Au Tourniquet, Chatou by Maurice de Vlaminck in the vault of the SA National Gallery.

Photo: Harry de Zitter.

Daniel Novela Art Studio One of worth visiting art places in South Africa is the studio of Daniel Novela, one of the black landscape impressionists that South Africa has ever produced before. His studio is situated in Khuma between Klerksdorp and Potchefstroom.

Just one and half hour to drive from Johannesburg to see this humble international and highly gifted artist.

This is an opportunity for all serious art collectors: individuals, groups, executive corporate, art galleries and Museum Curators, art auction Managing Directors and many others.

Among those who have visited Novela studio Green grazing zone, Oil on canvas board, 1,20m x 80 cm

Conflicting Skies, Oil on canvas board, 76cm x 51 cm

To visit Daniel Novela art studio please book an appointment and for more information on how to get there or for a preview see: www.danielnovela.co.za or email to info@danielnovela.co.za or contact Daniel Novela at: Studio: +27 18 489 1780 Fax: +27 18 489 1777 Cell: +27 82 262 3600

is the world renowned Mr Carlos Parreira, the current BafanaBafana Coach as well as Mr Robert Du Preez the Managing Director of Mr Price who all have made a good collectiopn of Daniel’s work.

Lute Vink Wildlife Artist Studio : 21 Kierieklapper Street, Leeupoort Vakansiedorp.

Tel : (014) 735-0298 Cell : 082 854 2295/082 546 7780 email : lutevink@absamail.co.za www.lutevink.co.za

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South African Art Times. March 2008

Lynette ten Krooden Cell: +27 82 880 1953 E-mail: ltkdesign@mweb. co.za, Web Page: www.art. co.za ©

Dawn in the mist 320 x 320mm Goldleaf and acrylic on paper

Roswitha von Glehn Wildlife - drawings, watercolours & woodcuts Landscapes - in oil & watercolour Tel +27 11 787 1983 email kayglehn@global.co.za

Joan Abrahams The present thrust of the work by artist, Joan Abrahams, has been to explore painterliness, produce objects and push towards post-modernist work, which integrates narrative and identity, both historically and geographically, as well as commenting on issues of psycho-socio-political significance.

Tel /Fax: +27 11 486 1368 Mobile: +27 82 850 1072 Email: joanabra@mweb.co.za www.art.co.za http://www.saatchi-gallery.co.uk/yourgallery/ artist_profile/ Joan+Abrahams/12596.html Title (left): Book l Mixed media (paper, material, string, staples, ink), 104.5cm x 75cm. 2006

Heather Auer Art & Sculpture Gallery

Heather Auer – Simon’s Town Quayside Centre, Wharf Street Simonstown -

Heather Auer - Hout Bay Shop 3, 22 Main Road Hout Bay 0827792695 0828289205 Tel/Fax 021 7861309 info@heatherauer.co.za www.heatherauer.co.za

Fiona Ewan Rowett 0832673013 rorowett@altonet.co.za white noise (of daily life)

South African Art Times. March 2008

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Cape Townâ&#x20AC;&#x2122;s largest contemporary art gallery exhibiting works by leading South African artists

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Alice Art, Ruimsig : Drive 217, Ruimsig, ROODEPOORT T) 011 958-1392 C) 083 377 1470, aliceart@global.co.za www.aliceart.co.za Alice Art, Hartbeespoort : Scott 110, Schoemannsville, HARTBEESPOORT C) 083 325 0358, aliceart.harties@gmail.com Alice Art, Witbank : h/v Mandela & Bethal Str. Winkel 16, River Crescent Cntr, Modelpark WITBANK C) 082 389 7478 aliceart.witbank@vodamail.co.za

We pay tribute to the life and art of

Marion Burnett (1952 - 2007) Leopard in Bronze (life size number 2 of edition of 12). Last work by Marion Burnett.

Photography by Shooting Range Photography (Hes Range) Cell 082 378 0255 hes@shootingrange.co.za www.shootingrange.co.za

The Philip Harper Galleries Hermanus, Western Cape www.thephilipharpergalleries.co.za We specialise in South African Art, both Old Masters and select Contemporary Artists, catering for both corporate and private clients Oudehof Mall, 167 Main Road, Hermanus, Tel: 028 3124836