SA Art Times February Edition 2018 by SA ART TIMES

SOUTH AFRICAâ&#x20AC;&#x2122;S LEADING VISUAL ARTS PUBLICATION

February 2018 WWW.ARTTIMES.CO.ZA

Illuminance

is a term that describes the measurement of the amount of light falling onto and spreading over a given surface area.

â&#x20AC;&#x153;When I was considering what the nature of such a sculpture would be, I realized that there needed to be a shift in my understanding of sculpture as I knew it. Such a large work challenges the tactile nature of sculpture as the massive shapes and textures are perceived differently. This places much more importance on the way light plays on the sculpture. The name Illuminance was not chosen as a title, it was the starting point for which every decision was made.â&#x20AC;&#x2122;

CONTENTS FEBRUARY 2018

First Floor Gallery, ICTAF 2018, Gresham Tapiwa Nyaude, Mazino (Mazai a Dimba ane ngozi), 2017, oil on canvas, 300cm x 150cm

12 INVESTEC CAPE TOWN ART FAIR 2018

40 BISI SILVA

25 CHRISTOPHER MOLLER ART GALLERY

42 ON THE COUCH

What to expect at Ictaf 2018 Ictaf 2018 / Dirty Linen (& The Nihilist’s Alphabet)

Ictaf 2018 / Reconnect by Ingrid Bolton

34 STANISLAW TRZEBINSKI

Ictaf 2018 with Eclectica Print Gallery Ictaf 2018 / Thinking Outside The (Light)box 08

With Hennie Niemann Jnr.

46 BUSINESS ART

28 BERMAN CONTEMPORARY

36 ART@AFRICA

In conversation with Sean O’Toole

- Bonhams First Africa Now Auction - Sotheby’s Sale of Modern and Contemporary Art - Strauss & Co’s Chairman’s Report

64 AUCTION ACTION

Results, highlights and lots to watch

74 GALLERY GUIDE FEB 2018

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80 SALON 91: MIGRATION

Solo Exhibition By Sarah Pratt

110 HELMUT STARCKE (1935-2017) 116 BOOK REVIEWS

- Olifantsfontein Potteries 1907-1962 - Danie De Jager Sculptor Compilers - Gregoire in Print (soon to be released) - The House that Jack Built - South African Artist and Educator (1924-2013)

Cover Artwork: Everard Read, ICTAF 2018, Andrzej Urbanski, A04 646217, 2017, Spray Paint and Acylic on Canvas, 160 x 140 cm

124 THE GOOD READ

Misery Doesnâ&#x20AC;&#x2122;t Seem to Improve the Quality of Art W W W. A R T T I M E S . C O . Z A

Editorial I would like to welcome you to our first Art Times 2018 edition. We have especially enjoyed compiling the extensive Cape Town Art Fair 2018 feature. In this latest edition we have taken all the good things learned and achieved about art publication and made it this year’s new norm. In this new year we are looking forward to a thunderous New Year in terms of Art Auctions, Art Fairs, Prizes, Town Art Events and great art shows, all which we hope to capture in our comprehensive online and published Gallery Guide. Ironically despite global warming, drought and political jitters, the art and auction scene is sizzling with the best art and auction houses jostling like never before in fetching the best prices they can get. This year international stalwarts Christies, Bonham’s and Sotheby’s are joining the local fray to gain access into this very lucrative SA fine art market held by the likes of Strauss & Co, Welz & Co, Aspire, Omni and others. In addition to accessing this auction market, international online portals such as Invaluable and Sales Room have made it possible to provide a global platform for smaller galleries and auction houses to go global. Because of this these smaller businesses who lack the technical and expensive online auction software are able to compete against bigger houses who have. If this auction market is not enough, what is more incredible is that the time span between artist’s and their prices going from a primary to secondary art market seems to shorten every year. It seems that if an artist is able to produce enough work between one art fair and another you will be put into a cake of art auctions, as good stock it seems is in short supply and auction houses need to sell. Forget Bitcoin, maybe a new artist hot off the Fair would prove as risky but possibly provide great returns. What seems to be missing in all of this is to have the time to enjoy art. Luckily if you have missed it on the web, you will find it here between these bold and colourful pages. In additional to the four Art Auction Seasons come the Art Fairs: After February’s Cape Town Art Fair comes The KKNK (Klein Karoo Nationale Kunsfees) held in March which is then followed by the cool Afrikaburn and May’s Nirox Winter Sculpture Fair. June’s jewel event is Hermanus Fyn Art, Innibos Art Festival and Grahamstown National Arts Festival. If that isn’t enough, Vryfees happens in July and Turbine Art Fair and to drum role a crescendo to the year The Joburg Art Fair in September, and the Grad Show Special in December again. Art Competitions also add their magic in promoting new and young talent such as The Phatshoane Henney New Breed Art Competition, National Premier Craft Competition 2018, South African Living Portrait Master Competition, Sasol New Signatures Art Competition, Ernest Cole Award, Barclays L’Atelier Art Competition, Cassirer Welz Award, Thami Mnyele Fine Art Awards Competition, PPC Imaginarium Awards, The Tollman Bouchard Finlayson Art Award, StateoftheART Gallery Award. In all of this there also are Gallery Exhibitions and Town Art Events such as the brilliant First Thursday nightly events. If you can’t manage to keep up with everything, please be sure that you will catch daily updates on our Art Times comprehensive Website and Facebook platforms. I hope that you truly enjoy this colourful and art rich year - Bon Appetit Gabriel Clark-Brown (Editor)

SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

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 Eugene Fisher sales@arttimes.co.za DIGITAL MEDIA EVENT LISTINGS Jan Croft subs@arttimes.co.za DIGITAL MEDIA & NEWSWIRE Ashleigh van Reenen info@arttimes.co.za SEND AD MATERIAL sales@arttimes.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.

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Property from the Jerome and Ellen Stern Collection CLAUDETTE SCHREUDERS Three Sisters Estimate £20,000–30,000

Modern & Contemporary African Art Auction London 28 March 2018 Viewing 23, 25 – 27 March 34–35 NEW BOND STREET, LONDON W1A 2AA ENQUIRIES +44 (0)20 7293 5696 HANNAH.OLEARY@SOTHEBYS.COM SOTHEBYS.COM/CONTEMPORARYAFRICAN COURTESY OF THE ARTIST, JACK SHAINMAN GALLERY, NEW YORK, AND STEVENSON, CAPE TOWN AND JOHANNESBURG

DOWNLOAD SOTHEBY’S APP FOLLOW US @SOTHEBYS #SOTHEBYSCTPAFRICAN

INVESTEC CAPE TOWN ART FAIR 2018

WHAT TO EXPECT AT THE 2018 INVESTEC CAPE TOWN ART FAIR

In anticipation of the annual Investec Cape Town Art Fair (ICTAF), we caught up with ICTAF Curator Tumelo Mosaka to find out what needs to be seen. Produced by Fiera Milano Exhibitions Africa, 2018 will mark the first year with Investec as the Fair’s title sponsor, with the new partnership attracting attention both locally and internationally. Enter ten must-see experiences centred on the artists, galleries and exhibitions taking place in the heart of Cape Town’s city centre at the Cape Town International Convention Centre (CTICC) from 16 to the 18 of February. By showcasing a combination of African works as well as art from myriad international countries, Investec Cape Town Art Fair prides itself in offering visitors diversity. “It’s important to understand how we see ourselves in relation to the world. South Africa is connected to global culture and economic trends, and art produced from different parts of the world needs to be experienced locally to understand how we are seen and want to be seen.” Mosaka explains. Cultural Platforms The Cultural Platforms section is dedicated to non-profit art institutions working both locally and in Africa. It aims to highlight the networks and methods of working outside the market. Collectives such as Village Unhu from Zimbabwe and NJE Collective from Namibia represent new arts initiatives that contribute to the growing cultural landscape on the continent. Talks programme Visitors to ICTAF can look forward to live talks and discussion from featured artists and galleries as part of the Talks Programme. The Programme is designed to introduce ideas related to building value through art as well as understanding the curatorial role within the cultural field; “Visitors will be treated to

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50ty50ty, Katherine Bull, Cape Harbour 14

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INVESTEC CAPE TOWN ART FAIR 2018

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Above: Eddy Kamuanga Ilunga, Feeling of Abandonment, 2017. Acrylic and oil on canvas, 188 cm x 199 cm. Courtesy October Gallery, London. Right: Primo Marella Gallery, Abdoulaye Konaté, Composition en-Noir blanc et rouge (triangle et cercle), 2017

conversations with artists and collectors as well as talks about the challenges confronting non-commercial institutions that are very supportive of emerging artists.” Performances Performance works will take place across the Fair. Visitors are encouraged to visit the website for more information on the times of each performance. Past/Modern ICTAF will showcase a section on Past/ Modern art and how it is relevant to art in general today. As Mosaka explained; “Past/modern emerged as a reaction to grand narratives of Western domination and progress. It is the breakdown of hierarchies and an opening up how contemporary life is interrogated.” Editions The Editions section will feature works

made in multiples such as prints, etchings and silkscreens. This showcase also allows young and new collectors to participate in the exchange by purchasing art at a more affordable price. Walkabouts Walkabouts are tours of ICTAF. Visitors can expect to see highlights and be led through the fair by artists and curators exploing certain themes and meeting gallerists. SOLO Having played an active role in the art world for over a decade, Nontobeko Ntombela will be working alongside Mosaka and the ICTAF team on SOLO – a focus on the works of women artists through alternative perspectives concerning socio-political issues faced by women. “I’m interested in the concept of what it means as a female artist to have this extended self through art,” says Ntombela. “The artists we are working with

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INVESTEC CAPE TOWN ART FAIR 2018

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99 Loop, Chris Valentine, Crop1 (1) 18

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INVESTEC CAPE TOWN ART FAIR 2018

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INVESTEC CAPE TOWN ART FAIR 2018

Tiwani Contemporary, Pamela Phatsimo Sunstrum, Les Oreides, 2017 20

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Anish Kapoor accardi 2008 courtesy Galleria Massimo Minini.

have explored this in many diverse ways.” The chosen pieces are all about “upsetting the norm and upsetting the image of women.” Artists that will be showcased include, Maïmouna Guerresi (Senegal/Italy) represented by Officine dell’Immagine (Milan, Italy), Pamela Phatsimo Sunstrum (Botswana) represented by Tiwani Contemporary (London, United Kingdom), Stacey Gillian Abe (Uganda) represented by Afriart Gallery (Kampala, Uganda), Renee Cox (USA) represented by Amar Gallery (London, United Kingdom), Keyezua (Angola) represented by MOV’ART (Luanda, Angola), Lhola Amira (South Africa) represented by SMAC (Stellenbosch, Cape Town and Johannesburg, South Africa), Lucinda Mudge (South Africa) represented by Everard Read CIRCA Gallery (Cape Town and Johannesburg, South Africa; London United, Kingdom), Kimathi Mafafo (South Africa) represented by EBONY/CURATED

(Cape Town, South Africa), Ingrid Bolton (South Africa) represented by Berman Contemporary (Johannesburg, South Africa) and Buhlebezwe Siwani (South Africa) represented by WHATIFTHEWORLD (Cape Town and Johannesburg, South Africa). TOMORROWS/TODAY Returning to ICTAF is the TOMORROWS/ TODAY section, a curated cross-section of the most exciting emerging artists from around the world chosen by Mosaka as being representative of the most thought-provoking young voices. Tomorrow/Today explores the ideas inspired by African modernity. These works demonstrate an intense awareness of the changing social and economic landscape defining the various localities on the continent. These artists reflect on current conditions in ways that escape fixed definitions about African realities, Mosaka explains.

Early bird Full price Door price Online Price Adults R140 R165 R132 R150 Senior citizens over 65 R110 R120 R96 R110 Students R110 R120 R96 R110 Age over 12 R110 R120 R96 R110 Age under 12 R55 R60 R48 R55 Weekend passes R200 R250 R200 R250

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Detail, Blessing Ngobeni,Uninvited Guest, 2016 Everard Read,Mixed Media on Canvas 163 x 356 cm 22

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INVESTEC CAPE TOWN ART FAIR 2018

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INVESTEC CAPE TOWN ART FAIR 2018 Made up of solo presentations by artists including new entries from Australia, Washington DC and Angola. A final showcase will feature three projects by female artists to further amplify the ICTAF’s focus on artists of that gender for 2018.

Join us, after fair hours, for a chance to unwind and network with our restaurant and bar partners in the district. The opening night will take place on Wednesday, 14 February from 8pm to 11pm and will run from Thursday to Sunday from 4pm to 11pm.

Main Section and international galleries At the core of the Fair are, internationally renowned galleries such as Galeria Gregor Podnar (Berlin, Germany), Perrotin (Paris, France) and Galleria Giovanni Bonelli (Milan, Italy), showing at ICTAF for the first time, while past participants like Galleria Continua, Galleria Minini, Tiwani Contemporary and October are returning. From the local side, expect to see Stevenson Gallery, Goodman Gallery, SMAC, Blank Projects and Gallery MOMO amongst others.

The programme is being finalized and the media, and public, is encouraged to watch Investec Cape Town Art Fair’s website for details.

ICTAF runs from 16 to 18 February 2018 at the Cape Town International Convention Centre. For more information, visit investeccapetownartfair.co.za. AFTER HOURS HUB AND GALLERY WALKABOUTS: INVESTEC CAPE TOWN ART FAIR 2018 EXTENDS IT’S REACH AND INTERESTS Investec Cape Town Art Fair just got bigger with the announcement of an After Hours Hub, the fair has extended its hours, and reach, bringing an even wider public into its activities. The main event of the After Hours Hub will take place in the Silo District at the V&A Waterfront. A programme of video art has been devised due to take place in container spaces that will no doubt have broad appeal, and will be a perfect vehicle for showcasing this vital medium to an audience from all entry points. The After Hours Hub An official side project to Investec Cape Town Art Fair, the After Hours Hub will be curated by Brent Maistre of Analogue Eye. The filmscreening addition is a not for profit project that embraces emerging and established video artworks in public spaces.

Exhibitions of note and walkabouts with artists at galleries In keeping with art fair ethos of partnering and showcasing developments in contemporary art practice in the city, Investec Cape Town Art Fair is using its platform to highlight extra items of interest taking place at galleries represented at the fair. El Anatsui at South African National Gallery Iziko: The Nigerian-based, Ghanaian artist whose large metallic assemblages have won him acclaim, including a Golden Lion lifetime achievement award at the 2015 Venice Biennale, will show at the SANG Iziko over the art fair period. His exhibition is courtesy of Goodman Gallery Igshaan Adams at blank projects: Adams is the Standard Bank Young Artist Award Winner for 2018. Over the art fair weekend Adams will hold a solo exhibition at blank projects. The blank projects programme will include an exhibition walkabout. Kemang Wa Lehulere at Stevenson: Wa Lehulere was the Standard Bank Young Artist for Visual Arts in 2015, Deutsche Bank’s Artist of the Year’ for 2017, the recipient of the fourth Malcolm McLaren Award for performance Art and is shortlisted for 2017 Future Generation Art Prize. He will hold an exhibition walkabout in the weekend of the art fair. Simon Stone at SMAC: Stone is an acclaimed painter and held a major retrospective in Johannesburg 2013. There will be an exhibition walkabout and book launch by Stone at the time of Investec Cape Town Art Fair.

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Red Room Gallery, Themba Khumalo, Forgotten Lives, 140cm x 160cm

Commenting on the After Hours Hub, as well as the art fair inclusion of artists’ walkabouts at partner galleries, art fair curator Tumelo Mosaka had this to say: “The important thing for us to realize is that we are part of a larger ecosystem. And it’s important for us to be engaged with our partners in the city of Cape Town. “With our involvement in showcasing outside exhibitions and studio visits, we are mindful that these are artists represented by some of the galleries in the art fair. Likewise, the video screenings curated by Brent Maistre from Analogue Eye will include some South African artists and some internationals of interest to art fair goers.

“We are creating a whole interaction that will happen in the evenings where we will have containers in a section of the Waterfront for people to interact with. And there will be video art presented. “So we are engaging with, and to tapping into, the city by allowing people to move between different city spaces -- seeing some of the other works by artists represented on the art fair, and some new artists too. “Lastly, we would also like to have a big party, and we are working on the big party details. We encourage everyone to watch our website, and the press, for details.”

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CHRISTOPHER MOLLER ART GALLERY

ICTAF 2018 / DIRTY LINEN (& THE NIHILIST’S ALPHABET) www.christophermollerart.co.za

Andrew Salgado’s newest body of work for The Cape Town Art Fair 2018 follows 12 international sold-out solo exhibitions, including London, New York, Miami, and most recently – an installation-based exhibition in Croatia including video, furniture, and sculpture within a 13,000 square foot space. His new body of work, entitled Dirty Linen (& The Nihilist’s Alphabet), shies away from his previous penchant for autobiographical, highly personalised work, in favour of work that celebrates the artist’s media and allows the viewer to engage more playfully with the pieces. He states: “This desire to grow up, and out, of my own solipsistic realm has been nagging at me for some time. At first I sputtered…but after a few false starts I found my footing and then the work just flowed.” The work encompasses a series of interlinked paintings, intended to link together like a jigsaw, where one painting connects – figuratively but also literally – to its neighbour. “I’ve become accustomed to creating a specific narrative, where intention and execution are one and the same. That is to say the paintings hang in a specific order. They unfold naturally and causally in the same way they unfold in the studio. For me,

if a painting is extracted from the procession, the entire presentation becomes unstable; the story falls apart, so to speak.” These finite linkages result in a system of codes and (what he calls) hieroglyphs that tie one painting to the next, allowing one story to flow onto its successor, and the entire system of codes, motifs, colours, and techniques play out across the paintings like a foreign language to be deciphered. Conceptually, the works do not stray too far from the themes he has become known for. The show harkens back to themes Salgado explored previously in shows like The Misanthrope (Beers London, 2012) or This is Not the Way to Disneyland (VOLTA Basel, 2015). However, the artist now prefers to remain evasive about his intentions, discussing the technical aspects of the work as opposed to their thematic groundwork. And if prioritising the technique and format is his preference, he has occupied that role with zeal: pushing the technical dimensions of each work further than ever before, utilising a broad array of techniques, approaches, and styles that not only keep each work fresh and unexpected, but that are also uncommon in figurative painting. By Kurt Beers.

Detail, Take this Pleasure by Andrew Salgado, oil & oil pastel on linen, 204 x 185 cm

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ICTAF 2018

Dirty Linen (& The Nihilistâ&#x20AC;&#x2122;s Alphabet) Andrew Salgado 15 February - 23 March www.christophermollerart.co.za W W W. A R T T I M E S . C O . Z A

Cityscape 28

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BERMAN CONTEMPORARY

ICTAF 2018 / RECONNECT BY INGRID BOLTON Text by Cate Terblanche / bermancontemporary.com

Copper Cubed I and Flow

This exhibition entitled Reconnect, is a continued exploration of the works exhibited by Ingrid Bolton in her first solo exhibition held at the Pretoria Art Museum in 2013 as part of her prize for winning the Sasol New Signatures competition the previous year. Entitled Connect /Disconnect, the exhibition investigated the importance of copper, and more specifically copper cabling in the process of communication. In this new body of work, Bolton returns to the questions relating to technology and its ability to either enable or disrupt communication. As the title suggests, Bolton not only wishes to reconnect with the subject matter, but also with the issues that concern her. In order to understand Boltonâ&#x20AC;&#x2122;s work, one needs to be

aware of her acute interest in environmental issues. Her background in microbiology has served as inspiration for her art on several occasions. Bolton uses the cables as metaphor, not only for the transfer of information, but as structural component of her cityscapes. Our cities, our world cannot exist, or even function without the crazy network of cabling that surrounds us. This network allows for communication, global communication, as well as constructing our daily experiences as city dwellers. Cut at a 90-degree angle, the cables reveal their secret landscapes. These hidden geometric patterns form shapes reminiscent of glass jewellery from Murano, those fragile beads of glass that both delights us and terrifies us. One wrong move and the precious glass bead Cityscape

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Layered Landscape

is shattered, broken, never to be restored. That is unless of course, if it does not find its way into a recycling bin. In a similar way, Bolton’s cityscapes are simultaneously fragile and highly complex ecosystems always bordering on the brink of collapse, but always with the potential for revival. The issue of sustainability is also at the heart of her work. While recycling is generally encouraged as a moral and ethical act towards saving our planet for future generations, some would argue that the ‘real’ cost of recycling does not make economic sense. A few lone voices still denying the global environmental crisis, are often those with vested interests in commercial ventures which exploit natural resources. Still others would say that the act of recycling simply makes us feel better by alleviating our feelings of guilt produced by indiscriminate consumerism. There are those, on the other hand, who see recycling as an opportunity, not only to reduce waste and our impact on the environment, but also to create jobs and to provide employment. For the majority of us, recycling is a process born from good intentions despite the lack of supportive infrastructures. E-waste, especially, is an increasingly problematic by-product of our rampant consumerism and throwaway culture.

The problem is compounded by the fact that many countries have no specific laws or policies for dealing with e-waste, leaving many poorer countries vulnerable to becoming dumping grounds for the discarded technology no longer required by more affluent countries. Not only do these countries then have to deal with the physical disposal of tons of redundant technological objects, but recycling of these products are often toxic and highly hazardous to the environment, as well as the people working in these areas. In some instances, cables are burnt to retrieve the metals, releasing toxic gasses into the atmosphere, threatening both the individual and community’s health. It is this tension between the creative and destructive forces of technology that informs much of Bolton’s work. Even the highly technical manner in which the cables are cut to reveal the inner cores without destroying them in the process, reflects this tension. Her cityscapes are deceptively beautiful aesthetic objects, products of our malevolent obsession and over-consumption of technological products. The need for protecting our environment is becoming all the more urgent. Bolton’s work is a call to reconnect with our values, the environment and our own role in ensuring the sustainable and ethical use of our limited natural resources.

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15 -18 February

C A P E

T O W N

ART FAIR

Featuring artists like Marlene Dumas J.H Pierneef, Maggie Laubser Walter Battiss, Robert Hodgins and many more.

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E Info@absolutart.co.za W www.absolutart.co.za T 021 882 9296

Artwork by: Alexis Preller

ABSOLUT ART GALLERY - STELLENBOSCH

ICTAF 2018 / www.absolutart.co.za By: Martus Greyvenstein

Marlene Dumas, Barbie ( with pearl necklace) Lithograph, 500 x 380mm

Marlene Dumas, Portrait of a young Nelson Mandela, Lithograph, 450 x 350mm

South Africa has a rich history of phenomenal artists, often characterised by the political, cultural and religious ideas of the time. For a long time artist have been the soul of society, some of the most important people on earth. Absolut Art markets South African masters and contemporary art and is ideally situated in Stellenbosch, one of South Africa’s oldest towns.

The list continues with some of South Africa’s greatest modern artists in Walter Battiss and Alexis Preller, praised by many as an imaginative genius and master colourist. He had such magical abilities that he was even dubbed the ‘South African Gauguin by some. Robert Hodgins, another acclaimed artist, comes from an era where artists were known for making socially conscious statements and satirising those in power. Browsing through some his art one is sure to find these themes repeated throughout his work.

Absolut Art is proud to showcase the works of Pierneef, Dumas, Preller, Hodgins and Battiss at the 2018 edition of the Cape Town Art Fair. Among this list of very wellknown South African artists, Pierneef enjoys almost iconic status. His career as an artist started taking shape soon after the Anglo-Boer War, thriving on the influence of Anton van Wouw and Frans Oerder. Many critics agree that one thing that made Pierneef unique was his ability to paint with ‘different eyes’.

There aren’t many people who can claim the accolade of being credited with most expensive art by a living female artist. Her 1987 work, “The Teacher” fetched $ 3.3 million. The South African born Marlene Dumas, is not one to shy away from controversy. Her paintings are often borderline shocking and offensive. Dumas’ works such as ‘Naomi” (1995) and ‘Dead Marilyn’ (2008) are perfect example of her willingness to toe the line.

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Art@Durbanvillehills,“Alien Vegetation” by Gavin Younge

Robert Hodgins, Aztec, Oil on canvas, 700 x 700mm

On the timeline of South African art there are many highlights and standouts. Absolut Art is proud to present the works of some of South Africa’s legendary artists. Enjoy a company of creatives sure to create some excitement for years to come.

“There aren’t many people who can claim the accolade of being credited with most expensive art by a living female artist. Her 1987 work, “The Teacher” fetched $ 3.3 million.”

Alexis Preller, Native study, Oil on canvas, 510 x 410mm

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STANISLAW TRZEBINSKI

ICTAF 2018 WITH ECLECTICA PRINT GALLERY

Dr Danny Shorkend reviews / eclecticaprintartgallery.co.za

Chaotic Balance Female

Powerful figures, torsos and heads bespeak a certain strength at once capturing a solidity and sense of movement. Trzebinskiâ&#x20AC;&#x2122;s sculptures in bronze and his copper and brass plates that are showcased as actual artworks rather than prints are phenomenal, even more so considering the artist, who hails from Kenya is largely self-taught. His understanding of human anatomy and his technical virtuosity at such a young age is remarkable and a must-see collection at Eclectica Design and Art is now on offer. I enjoyed the combination of muscularity with the additions of protruding shapes that emerge from these bodies. The artist speaks of the significance of nature as an inspiration

Top: Fractal Figure 2 on paper. Right: Levitas

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INVESTEC CAPE TOWN ART FAIR 2018

for his works and it is thus as if the figures are both constructed by skeletal structure as well as an alchemical interweaving of the very substance that is at the heart of the earth or more mystically, of the cosmos itself. This is further justified considering the plates where the figures appear to emerge out of a kind of interaction of the basic chemistry that define matter. It appears that the artist, intellectually, intuitively and in terms of acute observation is concerned with the properties that coagulate to form the stuff of things – the very molecular, atomic and force fields that energise and vitalise natural phenomena.

heavens and as physicists would have us believe, having emanated from a seminal point, known colloquially as the big bang. I sense in these works then the transformation of matter – sculptures that are far from inert and copper plates that vibrate with higher resonant patterns, the ebb and flow of the natural world itself. What is perhaps most positive in this show is the general sense of health and vigour, a zestful, youthful spirit that enables the three-dimensional forms to, as it were breathe, and the plates to somewhat pulsate, notwithstanding his repetitive iconography.

Then beyond the configurations of matter, there is perhaps a more mystical component. There appears to be a surge of energy in Trzebinski’s work that bespeaks of the chakra points, vitiating energy points of the human body that reflect higher patterns of universal modalities of being from the rarefied level of the will, of pleasure and of thought down to the emotive spirit that in turn vitalises the nether regions – the gut, sexual organs and the limbs. These forces are contained with the electro-chemical and magnetic resonance one finds in nature and particularly through the human form, a microcosm of the macrocosmic universal template. One might conjecture that such an interpretation finds an accord in the artist’s use of odd appendages that emerge from the head and incisions, like tectonic rock forms that are etched into the body. Such interventions thus bespeak the idea that man is from the dust of the earth, and at the same time such is not mere dust, having been incubated from the starry

There is one sculpture where the form is created out of minimal sinewy “lines”, the rest of the body being vacuous, emptied of solidity. Perhaps this invites contemplation on the idea that, like the atom, matter is primarily empty and the human body changes to a large degree year after year, just as the planetary system moves within the vast expanse of space and stars exchange tremendous amounts of hydrogen and helium, and like, the human body, follow a course of birth, growth, decay and death. Trzebinski’s work is self-assured and confident. He is in command of the technical skill required and as I have argued this bespeaks a wealth of ideas that ought to invigorate a healthy respect for nature and indeed one another. This in turn should ignite interest, scientific, philosophical and artistic into the very origins of matter itself. At some point, however, an impasse may be reached. It is at that point that the strident quality of the human figure gives way to humility and a diminution of the ego and self-centeredness.

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ART@AFRICA THINKING OUTSIDE THE (LIGHT)BOX

ICTAF 2018 / GALLERIES AND PRINTS WITH A DIFFERENCE www.artatafrica.art

Detail of work by Vanessa Berlein

Exhibiting for the first time at the Investec Cape Town Art Fair this year, Art@Africa looks forward to introducing art enthusiasts to their unique brand of gallery, and to showcasing some of the most exciting contemporary talent that South Africa has to offer. With three remarkable gallery spaces in and around Cape Town, Art@Africa is all about cultivating and celebrating contemporary South African Art. Beyond sourcing art and curating shows, the Art@Africa team is passionate about artist development and assisting in the conception and creation of large-scale art projects. With many years experience in designing and creating architectural and illuminated structures, Owner and Impresario Dirk Durnez works closely with artists to help bring their ideas to life. This is done through Cape Art Studios (CAST), the production and art “imagineering hub” of Art@Africa. One such project, set to be unveiled at The Cape Town Art Fair, is the culmination of many months work with Cape Town artists Norman O’Flynn and Vanessa Berlein. Both artists have created a body of limited edition illuminated sculptures which cleverly blur the

lines between fine art and design, artwork and functional object. The desire to develop these new works came about, for both the artists and the Art@Africa team, in answer to the question “what constitutes a print or multiple and how can we push that boundary to create something new”. Each work is digitally reverse-printed on clear acrylic, in limited editions, and incorporates three dimensional sculptural elements. Norman O’Flynn is a painter, sculptor and all-round constructor. He has a deep understanding of, and love for, the pop art tradition and explores what this genre means today, referring to topics like consumerism and the speed of change. The visual language that he constructs incorporates familiar religious and pop iconography and makes reference to his South African roots, while still appealing to an international audience. In his new series of illuminated sculptures entitled DIS ORDA Norman reflects upon, and reacts to, the media response surrounding a recent bomb blast in Germany. He was on a trip to London at the time and, in his own words, Norman “was struck by how packaged and consumable the news and advertising feeds of this event were broadcast. Glitzy, shiny, Boom”.

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“Both artists have created a body of limited edition illuminated sculptures which cleverly blur the lines between fine art and design, artwork and functional object”

Illuminated Sculptures by Norman O’Flynn

Vanessa Berlein is a painter who specialises in over-sized portraits. In her work she sets out to depict the iconographic qualities which she believes each of us embody within the privacy of our lives. In effect, her process is one of veneration – of honouring the sanctity and holiness that each of us innately has. Her new body of work, entitled Razzle Dazzle,

Artist Mark Chapman in studio with the CAST Team

is a series of digitally printed luminaires inspired by Vanessa’s own very singular style and the desire to develop her paintings into artworks that “transcend” simple portraits, to become icons in their own right, celebrating colour and light and the unique spirit of each of her subjects.

Artist Vanessa Berlein

Also on show by Art@Africa at the Investec Cape Town Art Fair will be sculptures by Mark Chapman, The Afronaut Series by Norman O’Flynn and digital reproduction prints by Kim Mobey. You can find Art@Africa at Booth E8 in the Editions section. For more information on Art@Africa and their artists please contact info@artatafrica.art or visit their website at www.artatafrica.art. W W W. A R T T I M E S . C O . Z A

ARTIST PROOF STUDIOS

ICTAF 2018 / TRIUMPHS AND LAMENTS

www.artistproofstudio.co.za

About the work The drawing for Triumphs and Laments is referred to as Migrants and Prisoners (Basualdo 2016: 268) and is adapted from two different visual sources: an ancient gallery in Naumachia by Ulpiano Checa (1894, oil on canvas, Musea Ulpiano Checa, Colmenar de Oreja, Madrid) and a photo of a boat of migrants off the coast of Lampedusa, December 14th 2013. The original ink wash drawings have been translated into monumental prints retaining some of the impetus and spirit of Rome frieze: Triumphs and Laments. The image is drawn across 36 brass plates with a sugar-lift mixture and ink. The plates are then covered with a varnish or ground and submerged in water to ‘lift’ the drawing through washing, leaving a negative image. This is aquatinted with enamel spray paint and immersed in ferric chloride- a non-toxic equivalent of acid. The paper used to print

each plate is hand made from raw cotton cloth and sisal fibre that is cooked, pulped and cast into lightweight sheets at the Phumani Papermill at the University of Johannesburg. The plates have been further etched and drypointed adding additional layers of tone and nuance to the images. The prints are mounted on raw cotton cloth through the etching press assuming the rough texture of the cloth. The cloth is folded in on itself using the format of a folded map that fits modestly into one’s hands, denying the monumentality of a huge framed artwork. This paradox echoes what Guercio, describing the Rome frieze, called “a desire to experience both the unfolding of time and time itself as unfolding”. This work has used two pieces of cloth joined by a sewn seam in the middle. The edition is fourteen, with each piece individually hand-coloured by William Kentridge using ink washes to join the folds between individual paper panels. The work folds into a hand-made clamshell box.

William Kentridge, Refugees (You will find no other seas) - 2017

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INVESTEC CAPE TOWN ART FAIR 2018

EBONY/CURATED ICTAF 2018

www.ebonycurated.com

Kimathi Mafafo, Solitude I, Oil on Canvas 2017, 100cm x 80cm

Kimathi Mafafo, Embolden, Embroidered Panel, 41cm x 27cm, 2017

EBONY/CURATED is proud to collaborate with Kimathi Mafafo, a multidisciplinary artist whose practise ranges from embroidery and oil painting to installation. Born in the semi-arid Northern Cape, Mafafo’s verdant imaginings, characterised by lush greenery and sensuous drapery, are far removed from the dusty mining town of Kimberly where she grew up. Mafafo’s imagery is guided in part by her desire to celebrate the beauty of the black female form as well as to tell the stories of the women who surround her.

“Mafafo’s verdant imaginings, characterised by lush greenery and sensuous drapery, are far removed from the dusty mining town of Kimberly where she grew up.”

Kimathi Mafafo, Ambience, Embroidered Panel, 55cm x 40cm, 2017

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BISI SILVA

IN CONVERSATION WITH SEAN O’TOOLE, ON THE OCCASION OF THE OPENING OF EL ANATSUI’S MEYINA AT IZIKO SOUTH AFRICAN NATIONAL GALLERY / www.iziko.org.za collections, museums and biennales, including Venice Biennales 1990 and 2007, the Paris Triennial 2012 and most recently Marrakech Biennale 6: Not New Now, Morocco (2016). He is the recipient of numerous awards including an Honorary Doctorate from the University of Cape Town, the Golden Lion for Lifetime Achievement Award at the 56th International Art Exhibition of the Biennale di Venezia – All the World’s Futures; in 2014, he was made an Honorary Royal Academician and elected into the American Academy of Arts and Sciences. In 2017, he received the prestigious Praemium Imperiale Award for Sculpture. Find out more: http://el-anatsui.com/>

On the occasion of the opening of El Anatsui’s exhibition Meyina, Iziko South African National Gallery in partnership with the Friends of the South African National Gallery and the Goodman Gallery are pleased to host exhibition curator Bisi Silva in conversation with art critic Sean O’Toole. They will discuss Silva’s long-term association with the artist, the current exhibition, and also Silva’s experience as an art curator in contemporary art from West Africa and beyond. El Anatsui is one of the most influential contemporary artists. Ghanaian by birth, he lives and works in Nigeria, and his work is exhibited widely internationally, in major

Meyina is Anatsui first museum solo show in South Africa. It opens at Iziko South African National Gallery on 17 February 2018 and runs through 29 April 2018. Meyina was first realized at the Prince Claus Gallery Amsterdam and then at the Goodman Gallery in 2017. Bisi Silva is a contemporary art curator and the curator of Meyina. Meyina includes not only the artist’s recent works but also fragments from the artist’s personal archival material. The intention is to show the personal thinking of how the artist works, alongside his signature sumptuous sculptural installations made with repurposed bottle caps. Silva is the Director of the Centre for Contemporary Art, Lagos (CCA) where she has also curated many exhibitions including Asiko (2010 - ) the pan-African alternative art school. As an independent curator she has worked on several international exhibitions and biennales

“The intention is to show the personal thinking of how the artist works, alongside his signature sumptuous sculptural installations made with repurposed bottle caps.” 40

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Above: Default, 2016, bottle caps and printing plates, 309 by 323cm Left: Fia, 2014, repurposed used bottle caps and copper wire, 280 x 260 cm.

including the 10th Bamako Biennale 2015, the 2nd Changjiang International Biennale of Photography, China 2017, and the 7th Dak’Art Biennale, Senegal 2006. Sean O’Toole is a journalist, art critic, editor and published author. His essays, cultural journalism and reviews have appeared in numerous books, newspapers and magazines in South Africa and internationally. He is the founding editor with Tau Tavengwa of CityScapes, a magazine project of the African Centre for Cities at the University of Cape Town, and a past editor of Art South Africa magazine. TICKET BOOKING PROCEDURE EFT in favour of Friends of the SA National Gallery, Standard Bank, Account number: 071568085. Please reference “Bisi” and “your name”. Please email PoP to SANGFriends@Iziko.org.za or FriendsSANG15@gmail.com

Please phone us for assistance 021 481 3951 Regret no reservations without payment Date: Saturday 17th February, 2018 Time: 10 am to noon (10:00 to 10:15 registration; 10:15 to 11:00 self-serve continental breakfast; 11:00 to 12:00 conversation) Venue: Iziko South African National Gallery, Company’s Gardens, CBD, Cape Town Tickets: available through the Friends of Iziko South African National Gallery with net proceeds to benefit the work of the National Gallery. R250 including continental breakfast. Capacity of 100. Contact SANGFriends@ Iziko.org.za or FriendsSANG15@gmail.com or 021 481 3951 booking procedure below. Press queries and complimentary press passes: Phillippa Duncan at phillippa. duncan@gmail.com or 083 480 9189 Winnie Sze at info@augustart.co.uk OR 082 866 2601

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31 4 5

ON THE COUCH WITH HENNIE NIEMANN JNR. By Gabriel Clark-Brown / www.hennieniemannjnr.com

Hart to hart 2 ,120x100cm, oil on canvas

Hennie Niemann Jnr is a painter who predominantly works in oil on canvas. His mastery of the medium and the subsequent development of his authentic personal style is grounded in the rigorous tuition received from his artist father, Hennie Niemann Snr and the late iconic South African painter and family friend Gregoire Boonzaier. Niemann Jnr started out experimenting with the Fauvist aesthetic and was greatly influenced by artists such as Picasso and South African painters Walter Battiss and Maurice van Essche.

His early expressive paintings were characterised by bold, confident brushstrokes complemented by a rich impasto technique. His subject matter and models varied, capturing the movement, drama and colourful aspects of the animals, people and cultures encountered in his travels throughout Southern Africa. His subjects were drenched in the African sun and his canvasses portrayed a wide range of indigenous life; from the essence of intimate moments or memories shared, to the expressive energy of stampeding herds and ritual dance. Hennie Niemann JnrÂ&#x2019;s style has progressively gravitated towards greater abstraction, not in

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its purest form, but rendered in a fragmented style of richly coloured, angular, hard-edged forms, restructured to capture the energy and mood of complex compositions. The artist’s current fascination with the energy, rhythm and harmony of dance has been at the forefront of his development in recent years. The establishment of a distinctive technique and style, adapted to his range of subject matter, underpins the uniqueness of Hennie Niemann Jnr s paintings. The artist boasts a list of sell-out solo exhibitions, and outstanding results at South African and international auctions. Source Johans Borman. Q: Hennie, of many of the young flourishing artists that I ve followed over the last thirty years as an artist and then as Editor of the Art Times, only a handful who have developed a distinct style to their work have survived and prospered in the likes of Dylan Lewis, Norman Catherine and William Kentridge. To what extent has the combination of an early art start, youthful energy a well art educated father as well as a very successful art dealer of Johans Borman influenced your success? A: As a young artist at the time I can not stress enough the impact that my father has had on my art education, not only the vast array of technical skills he taught me but also, and probably more importantly, the love for art. To know, through his example, that a career in art was in fact a possibility gave me allot of confidence and encouragement at a tender age. While most of my friends were off to Varsity I was tutored in the art of drawing after Rembrandt, Tiepolo and Daumier, for a small income I started selling some of my better attempts to clients of my father and later to Johans Borman, the other person who had a huge influence on my career. Success definitely did not happen over night but rather as a result of very careful management, over many years, by Johans and a persistent drive on my part to create honest and good art. I do not know of a single person who, in their

From the inside, looking out, 100 x 60cm, oil on canvas

“If I did not create my own distinctive style, my own voice from al this wealth of inspiration and influence , then I would have failed miserably.”

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The artisan, 110x100cm, oiloncanvas, 2017

dealings with Johans, where not convinced of his absolute integrity as an art dealer and that in itself is a trump to have on your side and quite a revelation in this industry. Q: What I find both so pleasing and fascinating of your work is that you have originated such a unique and fresh stylization for your work, when I first view your work, I see Battiss, Stern, van Eche amougst African and other influences - but then when one blinks one sees Hennie Niemann Jnr. Its interesting that you have taken the language of many strong South African artists and woven its essence into your own that is delightful. It might sound like a strange question but just how did you evolve your style and subject matter ? A :Ah, it’s easy, you take a pinch of Battiss, a slither of Stern, ad a scoop of van Essche, toss it up in the air and,…Voila! No, jokes aside, I truly admire these great artists and live with there work ( except Stern, I can’t 44

afford it ). It is impossible for me not to be influenced by art that I love and admire, in a sense I am an eternal student of the arts. In the same breath, if I did not create my own distinctive style, my own voice from al this wealth of inspiration and influence , then I would have failed miserably. Picasso quotes are well known and well used but, “ Good artists copy, great artists steal” seems apt. Q: In continuing with the use of stylization in your art making do you think the strong use of stylization come with both perhaps strengths (like the painter Tamara Łempicka of instantly recognizing the artists style) and weakness of perhaps having a limited pallet of sorts? I know Battiss used to sometimes paint six different paintings with six different styles in one day. A: Wow, if you do not mind me saying, six deferent paintings in six different styles seems a bit scitsofrenic and ever so extreme but I

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“As I venture forward in life, the way that I look and perceive my subjects changes radically and manifests itself profoundly in the mood and atmosphere of the artworks.” get the point and I like the philosophy of that approach. I could not and have not continued in a straight line and as far as I am concerned, my style has stayed the same for the past ten years or so. Rather, the way that I apply this style changes drastically from day to day and this causes leaps, sometimes very clear changes an other times barely noticeable, but always evolving within the style. Also, as I venture forward in life, the way that I look and perceive my subjects changes radically and manifests itself profoundly in the mood and atmosphere of the artworks. Q:You’ve been very fortunate in having had a dynamic art dealer Johans Borman taking care of your sales and marketing for the past twenty odd years. Now having moved on how do you view taking on the market not associated with a Gallery Brand name but as a well established artist with a strong loyal following. How do you plan moving through the thickets of Art Fairs, online marketing and auction houses, would you try rather to find a new gallery like the Everard Read or take on the marketing yourself with a marketing assistant?

A: It has been close to a year since I started taking on my own marketing, not out of choice but by circumstance, and it has been going well. I have always appreciated the value of a good marketer , like Johans Borman, so it did not come as a surprise that hard work lay ahead in his absence. My approach stayed pretty much the same, on par and true to the brand that I have created with him. At the moment I am not looking for exclusivity with a new gallery or marketing assistant and will continue to market my work through my website hennieniemannjnr.com. Both local and overseas galleries have acquired works from me directly but the majority of sales this past year stemmed from private, loyal followers via my website. I do however realize the importance of Art Fairs and being in the public eye and it is a real pity that, in all probability , my work will not be represented in this years CTAF. Maybe it is time for a few like minded artists to get together and form a revolutionary group, representing our selves at Art Fairs, local and abroad ,for years to come…,

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BUSINESS ART

INVESTMENT ART, NEWS & AUCTIONS

Tiwani Contemporary, ICTAF 2018, Pamela Phatsimo Sunstrum 2017, The Incense Burner 46

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AFRICA NOW

Wednesday 28 February 2018 New Bond Street, London

EL ANATSUI (GHANAIAN, BORN 1944) Riga Sequence painted and incised wooden planks Â£30,000 - 50,000

bonhams.com/africanow

ENQUIRIES +44 (0) 207 468 8355 africanow@bonhams.com

BUSINESS ART

BONHAMS

THE FIRST AFRICA NOW AUCTION OF 2018 www.bonhams.com

Aboudia Abdoulaye Diarrassouba, Untitled, estimate £10,000 – 15,000

The first Africa Now auction of 2018 takes place at Bonhams in London on Wednesday 28th February. Leading the sale is a rare portrait of Tutu by the Nigerian twentieth century artist Benedict Chukwukadibia Enwonwu M.B.E. (estimate £200,000-300,000). One of only three ever painted of the sitter, this is the first of its kind to come to auction. Known as Adetutu Ademiluyi, Enwonwu encountered the Yoruba princess on one of his many sketching trips to the ancient city of Ife. Captivated by her appearance he immediately sought the approval of her parents to paint her portrait. The first known painting of Tutu by Enwonwu was completed in 1973 and later became a bestselling print in Nigeria. Found in many middle-class homes across the country, Tutu transformed into one of the most recognisable and cherished portraits of the region. 48

This newly discovered 1974 version of Tutu portrays the granddaughter of the then Ooni of Ife in a similar regal manner. Illuminated from the light behind her, she is draped heavily in fabric. Her elongated neck and upright posture emphasises both her elegance and elevated position within Yoruba society. Gazing over her shoulder and into the distance, Tutu is far removed from the viewer. Her muted expression gives little away. The portrait is also a very rare example of a crossover of cultures. Born in Onitsha Enwonwu identified as being Igbo, contrasting with Tutu who belonged to the different Yoruba ethnic group. Despite this it conveys how Enwonwu attempted to create a degree of unity in Nigeria through his work as an artist. Even more significant so soon after the end of the Biafra war in 1970. This version of Tutu is expected to break the world record for the artist which Bonhams originally set in 2013, when his Mirror Sculptures realised £361,250 (including premium).

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Yusuf Grillo, Evangelists: Cymbal, Triangle and Tambourine, estimate £50,000 – 70,000

Benedict C. Enwonwu M.B.E., Tutu, estimate £200,000 – 300,000

El Anatsui, Riga Sequence, estimate £30,000 -50,000

The forthcoming February auction also includes Yusuf Grillo’s ‘Evangelists: Cymbal, Triangle and Tambourine’ (estimate £50,000 - 70,000). Grillo was raised in the Brazilian quarters of Lagos, an area renowned for its fun and vibrant performance culture. Surrounded by music from an early age, it inspired some of his most popular works including Drummer and Apprentice, Quarter, Trio and Drummer’s Return. The current lot depicts three individuals each playing a different musical instrument together. Their heads are turned to

one another, and their feet are in movement as if they are in the middle of a dance. It also features the very distinctive icy blue palette that Grillo used so frequently in his paintings from this period. In addition to the modern works of Enwonwu and Grillo, Bonhams will also be offering a selection of contemporary African art by the likes of El Anatsui, Aboudia Abdoulaye Diarrassouba, Goncalo Mabunda and George Osodi.

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BUSINESS ART

ASPIRE ART AUCTIONS

OFFERS MAJOR ARTWORKS ON SUMMER CAPE TOWN SALE www.aspireart.net

Alexis Preller. Gold Angel (Arêté)

Fresh from the remarkable successes of its recent Johannesburg auction in November 2017, Aspire Art Auctions is lining up another top roster of highquality fine art in its upcoming Summer sale at The Avenue, the V&A Waterfront in Cape Town on March 25. The last auction sale demonstrated Aspire’s expertise in each of the major segments of historic, modern and contemporary art, with records being achieved across the board. The work on offer in the forthcoming sale shows the same depth and excellence, offering buyers another opportunity to add quality and rarity to their collections.

A leading highlight on the sale is a rare and unusual work by revered South African modern artist Alexis Preller. Gold Angel (Arêté), from 1970, combines the artist’s interest in African masks and Egyptian and Greek murals, gleaned from his extensive travels in Europe and North Africa. In addition to his interest in these themes, Preller developed a highly idiosyncratic personal cosmology, in which a variety of ‘Angel’ and regal ‘King’ figures are depicted, often just their heads, and often, like this one, in profile. This Egyptian-inspired Angel head is subtitled ‘Arêté’, a Greek word meaning ‘excellence’, or ‘living up to one’s potential’ – a key concept in Preller’s visual cosmology. This striking work is executed

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Maggie Laubser, Still life with vase and sunflowers (1940)

“Vase and sunflowers (1940) is a representative painting from the artist’s mature period, when she had become something of an icon for a younger generation of contemporary SA artists, the so-called ‘New Group’.” W W W. A R T T I M E S . C O . Z A

BUSINESS ART Judged on the outstanding success of the sale of Sydney Kumalo’s Mythological Rider in the Aspire November 2017 sale, where it achieved a world record price of almost R2 million, buyers will be interested in another arresting sculpture by the venerated Amadlozi artist. Figure on a Bull is from an edition of nine, another one of which fetched a price of R800 000 previously on auction. Lastly, the upcoming show has a special focus on contemporary art, an area in which Aspire has consistently led the secondary auction market, and which forms a strategic focus area for the company.

Mohau Modisakeng, Untitled (Frame XVI)

in the artist’s innovative intaglio method: the image appears at a distance to be in high relief but is in fact produced as a negative, a concave form, cast in fibreglass resin. The cast is then meticulously painted to create the illusion of a convex rendering of the form. Another significant modern artist on the sale is Cape Town’s own Peter Clarke. Clarke’s work has been a great success in recent Aspire auctions, one fetching a world record price of R932 176 in Johannesburg in November. This is the highest ever price at auction for one of his gouache works. An early gouache and watercolour work goes on auction in Cape Town, Bathers from 1967. It is on the sale alongside an even earlier oil on paper still life by Clarke, Fruit Bowl from 1958. Maggie Laubser needs no introduction to most serious buyers and collectors, and one of South Africa’s most significant modern painters has a beautiful still life on the Cape Town show. Still life with vase and sunflowers (1940) is a representative painting from the artist’s mature period, when she had become something of an icon for a younger generation of contemporary SA artists, the so-called ‘New Group’.

One of the contemporary highlights at this auction is by one of the most exciting contemporary artists in the country at the moment. Mohau Modisakeng’s star continues to rise. The work on auction is from 2012’s Frames series, Untitled (Frame XVI). This series was instrumental in establishing Modisakeng’s characteristic visual style – a cool, abstracted and stylised photographic performance in which the artist stages his own body in ‘frames’ of implicit violence, indicative of the global situation of the black body. In this particular instance from the series, the trope of the blinkers implies both violence and control over the subject. Another significant contemporary work on auction is the tapestry work by Athi-Patra Ruga from 2013, Uzukile the elder. This arresting piece is newly arrived on consignment from the prestigious Fondation Louis Vuitton show in Paris entitled Being There, which featured new South African talent. Emma Bedford is Director, Senior Art Specialist and head of Aspire’s Cape Town office. She was also the Senior Curator of Contemporary Art at Iziko South African National Gallery, where she worked for 25 years. She comments: “We are very excited to bring such a considered and valuable range of work to the local market. Given that the record-breaking successes in our last sale ranged from the world-record price for a sculpture by Kumalo to a South African record for a drawing by contemporary doyen William Kentridge, we can confidently assert that we are demonstrating our expertise in the art market across the board. We are especially looking forward to further affirming our presence and expertise in the contemporary market with this sale.”

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AUCTION

CAPE TOWN 20 & 21 FEBRUARY 2018

VIEWING - 16 , 17 & 18 February | 10h00 - 17h00 17 February 10h30 Walkabout with Anton Welz

www.stephanwelzandco.co.za

LOT 224 A ‘HOW HIGH THE MOON’ ARMCHAIR DESIGNED IN 1986 BY SHI-RO KURAMATA FOR VITRA R 140 000 - R 160 000

BUSINESS ART

SOTHEBY’S SALE OF MODERN AND CONTEMPORARY AFRICAN ART

INCLUDING PROPERTY FROM THE JEROME & ELLEN STERN COLLECTION / AUCTION IN LONDON ON 28TH MARCH www.sothebys.com

Irma Stern, Port Scene, Estimate £12,000-18,000

The entry of Sotheby’s to the Modern and Contemporary African Art market last year was a game-changer that brought the region to the attention of the art world at large, and saw the world-renowned auction house emerge as the new leader in this field. The world’s oldest and largest internationally recognised firm of fine art auctioneers has a global network of 80 offices and the company’s annual worldwide sales turnover is currently in excess of US$4 billion (R50 billion). Sotheby’s first sale of Modern and Contemporary African Art in May last year proved to be international in scope, boasting

works by 63 artists from 14 different countries and attracting bidders from 29 different countries on 6 continents. The sale set a new benchmark for an auction of this category, setting a record sale total and achieving record breaking prices for 16 African artists. South African artists performed especially well, demonstrated by the success of museum-favourite Nicholas Hlobo’s mixed media work ‘Untitled’, which sold for £60,000 (over R1 million)—soaring above its pre-sale estimate of £8,000-12,000 and setting a world record—and Irma Stern’s ‘Sunflowers’, which sold for £416,750 (over R7 million). The sale also saw a record-breaking price for South African photographer and rising star, Mikhael Subotzky, whose ‘Ponte City from the Yeoville Ridge’ achieved £8,125 (R140,000).

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Mohau Modisakeng, Untitled (Qhatha series), Estimate £20,000-30,000

Maggie Laubser, Seascape with four boats (recto), Portrait of Arnold Balwe (verso), Estimate £12,000-18,000

Building on the success of this inaugural sale, Sotheby’s will return this March with another impressive selection of works from across the African continent, with several South African lots being amongst the sale’s stand-out works. Highlights include ‘Untitled (Qhatha series)’ an imposing triptych by Mohau Modisakeng, whose work in the South African pavilion was celebrated as one of the most criticallyacclaimed exhibitions at the 2017 Venice Biennale, as well as ‘The Exile According to the Elder’, an intricate self-portrait in tapestry by Athi-Patra Ruga, who has recently enjoyed museum exhibitions at the newly-opened Zeitz MOCAA in Cape Town and the Fondation Louis Vuitton in Paris. The auction will also feature works by artists such as Pieter Hugo,

Detail, Cecil Skotnes, King and Two Councillors, Estimate £15,000-20,000

Wim Botha, Irma Stern, Dumile Feni, Gerard Sekoto, Maggie Laubser as well as works by Cecil Skotnes and Willie Bester formerly in the Peter Stuyvesant Corporate Art Collection. Sotheby’s director Hannah O’Leary adds, “We are particularly excited to include a selection of artworks from the collection of the wellknown New York collectors and philanthropists Jerome and Ellen Stern. The Sterns were true art lovers who loved to travel and to discover new artists and follow their careers. They first visited South Africa in 1995 at the time of the

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BUSINESS ART

Athi-Patra Ruga, The Exile According To The Elder, Estimate £20,000-30,000

Nandipha Mntambo, Zeus, Estimate £10,000-15,000

first Johannesburg Biennale, and it was there that they discovered many South African artists, including Marlene Dumas, whose work they continued to collect for the next twenty years. It gave me such a thrill to see a Dumas hanging next to a Picasso in their Manhattan apartment, and to find Nandipha Mntambo’s bronze busts in their sculpture garden in the Hamptons.”

explains, “The bronze, Sengifikile, uses my own features as a foundation, but takes on the guise of a bull. Referencing the head-and-shoulder busts of the Renaissance tradition I challenge male and female roles in society and expected associations with femininity, sexuality and vulnerability”.

Following Jerome’s death in early 2017, Sotheby’s was entrusted with the sale of an array of artworks that illustrate the diversity of media, stylistic currents and movements from the Sterns’ collection, as well as the relationships that they cultivated with these artists over the years. Works from the collection have already numbered among the highlights of the market-defining November auction season in New York, including ‘The Hours Behind You’ by British-Ghanaian artist Lynette Yiadom-Boakye, which sold for a recordbreaking US$1,575,000 (R19.6million), and Marlene Dumas’s ‘Magdalena (Underwear and Bedtime Stories)’ which sold for US$3,615,000 (R45million). TO LIVE WITH ART: Property from the Jerome & Ellen Stern Collection in the 28th March auction includes a selection of work by the Cape Townbased Claudette Schreuders, Pascale Marthine Tayou from Cameroon, and Swazi-born artist Nandipha Mntambo. A solo exhibition of Mntambo’s work is currently on view at Zeitz MOCAA, including another cast of ‘Sengifikile’ (£10,000-15,000, R170,000-255,000). The artist

The Sterns were strong supporters of international museums and were dedicated to cultivating the arts with a global audience. Their collection was routinely loaned to international institutions including the National Gallery, London, the Guggenheim Museum, Bilbao, the Israel Museum, Jerusalem and the Royal Academy of Arts, London, as well as American institutions including the Museum of Modern Art, the Metropolitan Museum of Art, the Guggenheim Museum, the New Museum and the Studio Museum of Harlem. Indeed, Mntambo’s ‘Europa’, ‘Zeus’ and ‘Sengifikile’, as well as Schreuders’ ‘Ma-Trix’ and ‘Three Sisters’, were included in the well-received exhibition ‘Disguise: Masks & Global African Art’ at the Seattle Museum of Art (2015) and the Brooklyn Museum (2016). All will be included in Sotheby’s upcoming sale of Modern and Contemporary African Art on 28th March. Sotheby’s will be offering free and confidential valuations in Cape Town (Thursday 15 & Friday 16 February) and Johannesburg (Monday 19 & Tuesday 20 February) for future international auctions. Enquiries: +44 (0)207 293 5696 hannah.oleary@sothebys.com

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Athi-Patra Ruga, Uzukile The Elder, 2013, wool,thread, artiﬁcal ﬂowers and spray paint on tapestry canvas,200 x 190 cm

Estimates: R320 000 - 380 000

SUMMER AUCTION IN CAPE TOWN 25 March 2018 Historic, Modern & Contemporary Art Avenue | V&A Waterfront | 40 Dock Road SALE CONTACT & ENQUIRIES: 083 283 7427 | cpt@aspireart.net www.aspireart.net ww

BUSINESS ART

STRAUSS & CO

LAUNCH CONTEMPORARY SALE IN SOUTH AFRICA’S OLDEST WORKING HARBOUR Straussart.co.za

Kudzanai Chiurai, ZIMBABWEAN 1981, Creation I 2012, signed and numbered 2/10 in pencil in the margin, pigment inks on premium satin photographic paper sheet size: 112 by 163cm; image size: 100 by 150cm, R130 000 - 150 000

Strauss & Co is pleased to announce details of its first-ever dedicated contemporary art sale, due to be held on 17 February 2018. The venue for the 71-lot sale is an impressive former warehouse overlooking the Duncan Docks, a harbour facility at the Port of Cape Town. Formerly a cold-storage facility it now forms part of a complex of buildings being transformed by the V&A Waterfront into a multi-billion-rand cruise liner terminal and is located a convenient five-minute walk from the V&A Waterfront’s Silo District and Zeitz Museum of Contemporary Art Africa. The sale, which focuses on outstanding examples of contemporary art made by South African, African and diaspora artists, will coincide with the Cape Town Art Fair (16-18 February 2018). This pace-setting event at the start of the 2018 South African art calendar is held annually in the Cape Town International Convention Centre, very close to Duncan Dock.

Highlights from the contemporary sale include: an important charcoal and pastel drawing by William Kentridge from his film Felix in Exile (1994), estimates R2-2.5 million; an early Cake (1983) painting by Penny Siopis, estimates R600 000 - R 800 000; Joachim Schönfeldt’s esteemed portfolio of 27 painted and embossed works on paper, The Model Men (2000-12), estimates R800 000 - R1.2 million; and a pyramid sculpture, Third World Disorder (2010), by Kendell Geers, estimates R600 000 - R800 000. Robert Hodgins, Drunk in the docks, estimates R800 000 - 1 200 000 The sale also includes works by noted contemporary painters, such as Lisa Brice, Kate Gottgens, Georgina Gratrix, Helen Sebidi and Jessica Webster, as well as striking early works by Zander Blom and Ayanda Mabulu. Recognising the emergence of photography in the period since 1990, photographic works by Leonce Raphael Agbodjélou, Kudzanai Chiurai, Abrie Fourie, Cyrus Kabiru, David Goldblatt, Mohau Modisakeng, Tracey Rose, Mikhael Subotzky and Guy Tillim will be offered.

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Jake Aikman, SOUTH AFRICAN 1978, Adrift II, signed, dated 2014 and inscribed with the title on the reverse, oil on canvas, 152 by 152cm, R60 000 - 80 000

“The launch of our first contemporary art auction during the Cape Town Art Fair heralds an exciting new direction for Strauss & Co and should, in time, further enhance our relevance and sustainability,” said Strauss & Co chairperson, Frank Kilbourn. Together with Strauss & Co’s joint managing directors, Bina Genovese and Vanessa Phillips, Kilbourn has been instrumental in guiding the company towards a more diversified offering that now includes six online auctions and a contemporary sale as well as their four live auctions. Detail. Moshekwa Langa, SOUTH AFRICAN 1975, Untitled, signed and dated 1999/2010 in pencil on the reverse, mixed media on paper, 140 by 99cm, R120 000 - 160 000

Strauss & Co has reason to be bullish about the market for contemporary art. Since it launched in 2009, the company’s four annual live auctions – two apiece in Cape Town and Johannesburg – have always

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BUSINESS ART

Kendell Geers, SOUTH AFRICAN 1968, Third World Disorder, 2010, steel, 150 by 150 by 150cm, R600 000 - 800 000

Penny Siopis, SOUTH AFRICAN 1953, Cake, circa 1983, oil and found objects on canvas, 90 by 120cm, R600 000 - 800 000

included contemporary art. Strauss & Co has achieved over R200 million in sales from just contemporary art in this period.

An illustrated catalogue, with detailed entries on each lot, accompanies Strauss & Co’s contemporary sale. The sale will take place at Cruise Terminal, E Berth, Duncan Docks, Duncan Road, V&A Waterfront on Saturday, 17 February 2018, at 6pm.

A broadening of tastes among South African collectors has seen artists like Jane Alexander, Deborah Bell, Norman Catherine, Robert Hodgins, William Kentridge and Penny Siopis perform consistently well at auction. Kentridge now ranks among the top performing artists at auction in South Africa, alongside blue-chip artists like JH Pierneef, Gerard Sekoto and Irma Stern.

PRESS ENQUIRIES Bina Genovese CONTEMPORARY ART AUCTION Saturday 17 February 2018 at 6.00pm Lots 1-71

Strauss & Co has successfully sold 240 Kentridge lots since 2009, with a cumulative value of R 81 847 896. The two other topperforming contemporaries are Hodgins and Catherine. Hodgins brought in R 43 969 038 from 195 lots sold since 2009, while Catherine has achieved R 11 151 202 from 157 lots sold over the same extended period.

VENUE Block B, Cape Town Cruise Terminal Duncan Road, V&A Waterfront GPS Co-ordinates: S -33º91040 E 18º42587

Strauss & Co’s commitment to bringing singular works to market saw it achieve a world record in 2011 when it sold an untitled figure sculpture by Jane Alexander, originally exhibited with her iconic The Butcher Boys (1985-86), for R5 456 640.

WALKABOUTS Thursday 15 February at 11am Saturday 17 February at 12.30pm

Recent Strauss & Co live sales have witnessed enthusiastic bidding for a newer generation of artists. Last year, an edition of Mary Sibande’s photo Her Majesty, Queen Sophie sold for R193 256, well above its high estimate. Similarly, Billie Zangewa’s silk tapestry Working Nights fetched R204 624, quadrupling its high estimate.

PREVIEW 15 February, 10am to 5pm 16 - 17 February, 10am to 6pm

ENQUIRIES AND CATALOGUES +27 (0) 21 683 6560 Mobile +27 (0) 78 044 8185 Fax: +27 (0) 21 683 6085 ILLUSTRATED CATALOGUE R200.00 ALL LOTS ARE SOLD SUBJECT TO THE CONDITIONS OF BUSINESS PRINTED AT THE BACK OF THIS CATALOGUE

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STRAUSS & CO. CHAIRMANS REPORT Straussart.co.za

for a painting sold at auction in South Africa, a record that Strauss & Co already holds for the sale of Irma Stern’s Two Arabs at R21 166 000. During a year in which we established several new auction records for a wide variety of artists, a particular highlight was the sale of John Meyer’s Odysseus for R3 069 360 with fierce bidding demonstrating the buoyant demand for this popular artist’s work. We are particularly pleased that Strauss & Co has consistently presented works that have never before been sold at auction or had been considered lost, as was the case in respect of important works by Alexis Preller and Sydney Kumalo. Frank Kilbourn, executive chairperson Strauss & Co.

I am delighted to report that 2017 proved to be an extremely busy and highly successful year for Strauss & Co. The company managed to build and expand on the solid base established in the second half of 2016, a year that started traumatically and posed many challenges. We benefited from having a stable, dedicated and highly experienced team on hand throughout 2017 and put that energy to productive use by holding a record of nine auctions, a tally that included four live and five online auctions. If one looks at 2017 in financial terms, several records were achieved. Auction turnover smashed last year’s record of R215 million by R105 million or 49%, to achieve a very credible total of R329 million. We had our best sale yet, when the June sale in Johannesburg realised R90 million, a benchmark we are justifiably proud of. In the event, more records were broken when we achieved a value sell-through rate of 95,8%, selling Pierneef’s magnificent Farm Jonkershoek with Twin Peaks Beyond for R20 462 400. This is a world record for the artist and the second highest price ever achieved

In November 2016 we presented Preller’s life size rendition of the biblical first man Adam, a rare intaglio and oil on fibreglass together with five other works by Preller that had never been offered at auction before, all of which sold above mid-estimate. We were privileged to follow that up this November with the provocative and sensitive Fleurs du Mal, painted in 1944, which achieved R8 184 960. Handling such rare works in conjunction with the sale of Kumalo’s Madala VI, a single edition from this highly acclaimed series, Gerard Sekoto’s Women in the Country from the artist’s golden Eastwood period and two extremely rare landscapes from Moses Tladi, not only provided excitement in the saleroom but also brought joy and fulfilment to our team. In the past 18 months we have been entrusted by overseas clients with outstanding works by key South African artists such as Preller, Stern, Battiss, Kentridge and Kumalo. Without exception we have been successful in selling these either within or above our pre-sale estimates, demonstrating that Strauss & Co is ideally positioned, relative to its international and local peers, to achieve excellent results for high quality works. This is supported by the fact that the average sale price for the top 40 works sold during the year was approximately R4 million per item.

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BUSINESS ART During the year under review, we sold 3 797 items on behalf of our clients and achieved a value sell-through rate in excess of 80% on average, a statistic that sets us apart from our local and international competitors. The sale prices achieved on auction corresponded almost 100% to our mid pre-auction estimates, which illustrates the quality and experience of our specialists in providing accurate estimates. Both these criteria remain a key guiding force for us in terms of conducting our business in an ethical, transparent, efficient and sustainable manner. Our pioneering online-only auctions have proved to be a fast growing and increasingly significant component of our business and the November online auction set a new record turnover of R4,2 million. These have been very beneficial in introducing new clients to the market and Strauss & Co remains committed to keeping works on this platform accessible and affordable to first time buyers. Southern African art has never been better positioned to become a more meaningful force globally and at Strauss & Co we recognize and accept our responsibility in terms of the development and strengthening of our art ecosystem. Our efforts are focused on art education, supporting art institutions and creating a greater local and international awareness, understanding and admiration of Southern African artists, past and present. During 2017 we aimed at creating international awareness by supporting the Friends of the South African Pavilion at La Biennale di Venezia financially and attending the Africa Art Forum in Venice. Strauss & Co also became a corporate founding member of the Zeitz MOCAA in Cape Town and strongly believes that the museum can play a constructive role in bringing art lovers and collectors to South Africa by exposing them to the incredible potential and talent of African artists. Together with the Norval Foundation’s museum at Steenberg due to open early in 2018, the A4 Art Foundation and established museums such as the Irma Stern Museum and Iziko Museums, Cape Town is particularly well placed to present visitors with an exciting and in depth view of the development of our art and artists. We deepened our involvement with the Irma Stern museum by hosting functions both in Johannesburg and Cape Town to launch Prof 62

Sandra Klopper’s new book on Irma Stern titled Are you still alive?. It was a pleasure and honour to host Mona Berman at these occasions and to hear her talk about her mother, Freda Feldman’s life and relationship with Irma Stern. Strauss & Co was honoured to be entrusted with the sale of three paintings by Irma Stern of Freda Feldman, Freda Feldman in a Basotho Hat, Freda in a Khaki Dress and Freda with Roses and we are delighted that these poignant and important works found new homes. Our partnership with the Friends of Welgemeend and The Boerneef Collection, has developed over four years into a Welgemeend Art Month and this year we saw a three-month exhibition titled South African Abstract Art from the 1950’s to the 1970’s in conjunction with noted collector, Pieter Colyn. In the process, we have been instrumental in not only renovating the third oldest homestead in South Africa and turning it into a high-end exhibition and conference venue that houses the Boerneef Collection, but also enabled a great many pupils from various schools and local and international visitors to engage with art in a quiet and contemplative setting. In Johannesburg, Strauss & Co strengthened its relationship with the Turbine Art Fair by presenting an exhibition of an extract from the Taljaard collection of works by JH Pierneef. We also held an online auction concurrently with many of the works being exhibited at the Fair. Both events proved to be very popular and Strauss & Co has committed itself longterm to the Fair. We are committed to expanding the local market’s knowledge of our artists and during the year hosted several lectures across the country giving our clients deeper insight into the works of Preller, Pierneef, Stern, Battiss, Esther Mahlangu, South Africa’s abstract artists of 1950 to 1970 and the Natal School, amongst others. These events have proven to be very successful and popular and I should like to thank the members of staff who lectured as well as the guest lecturers including the indefatiguable Prof Karel Nel, Warren Siebrits, Prof Federico Freschi and Sean O’Toole, amongst others. We once again sponsored the Cassirer Welz Award in conjunction with The Everard Read Gallery and the Bag Factory Artist’s Studios, which award this year went to Richard “Specs”

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Ndimande. We trust that the opportunity to spend ten weeks at the Bag Factory studio and have the resultant works exhibited at The Everard Read Gallery, will inspire and launch a career such as that of Blessing Ngobeni, a previous winner.

respectively. Well done indeed! We are delighted that Susie Goodman was awarded the Ampersand Foundation Residency for 2018 and believe she will benefit greatly from spending a month in New York, especially during the New York auction season.

Hosting the launch of the book Walter Battiss I invented myself, The Jack M Ginsberg Collection, edited by Warren Siebrits, at our Johannesburg offices was another highlight and a fitting tribute to Battiss, the collector and the editor. I hope that you will agree that it was indeed a very busy, exciting and successful year on many levels. None of this would have been possible without a highly competent team, working together in a passionate and focused manner, loving what they do and interacting with you, our clients.Â

My final thanks to my fellow board members for their wisdom, unstinting support and belief in the company, and to you, our clients without whom none of this would be possible.

We are very proud that, notwithstanding a most demanding schedule, two of our team members, Alastair Meredith and Gera de Villiers, still managed to obtain their doctorates from Cambridge and the University of Stellenbosch

There can be no doubt that 2018 will be a challenging year given the state of the economy, pressure on disposable income, corporate failures and political uncertainty. We believe that we have laid the foundations to weather these challenges and will continue to expand our operations. The launch of our first contemporary art auction to be held on Saturday 17 February during the Cape Town Art Fair, heralds an exciting new direction for Strauss & Co and should, in time, further enhance our relevance and sustainability. With best wishes for 2018.

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BUSINESS ART

AUCTION ACTION

RESULTS, HIGHLIGHTS AND LOTS TO WATCH STRAUSS & CO LAUNCH CONTEMPORARY SALE Duncan Docks harbour facility at the Port of Cape Town. 17 February 2018. PREVIEW 15 February, 10am to 5pm / 16 - 17 February, 10am to 6pm www.straussart.co.za

Penny Siopis, 1953 - Cake circa 1983, oil and found objects on canvas 90 by 120cm R600 000 - 800 000

RUSSELL KAPLAN AUCTIONEERS PREVIOUS SALE HIGHLIGHTS Next Art and Antiques Auction - Saturday 17 February 9:30 am www.rkauctioneers.co.za

Battis Walter Whall, SA 1906 - 1982, Bananas, signed 45 x 65 cm, Sold 24 000.00

Hodgins, Robert Griffiths, SA 1920-2010, All Gone...all gone... Sold 26 000.00

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Wanted for upcoming auction on 17 February 2018 Art, antiques, objects, furniture and jewellery

Dylan Lewis, bronze SOLD R360 000 View previous auction results at www.rkauctioneers.co.za

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

5 th Avenue F ine A rt Auctioneers

Auction of Fine Art, Antiques, Persian Rugs & Collectibles Gregoire Boonzaier Sold for R71,000

Father Claerhout Sold For R156,000

Alfred Thoba Sold For 54,000

Let us do the same for you th

Next Auction 18

February at 10am

Auction Rooms 404 JAn smuts Ave, cRAighAll PARk, sAndton. Absentee bidding viA: Phone, commision bid & online. live online bidding Also offeRed thRough ouR APP And Website WWW.5AA.CO.ZA ~ 011 781 2040/39/41 W W W. A R T T I M E S . C O . Z A

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AUCTION ACTION

RESULTS, HIGHLIGHTS AND LOTS TO WATCH STEPHAN WELZ & CO CAPE TOWN AUCTION 20 - 21 February - Sale Highlights www.stephanwelzandco.co.za

Norman Clive Catherine, South African 1949, Encore signed and dated 2007 oil on canvas 120 by 150cm R 500 000 - R 700 000

SOTHEBY S SALE OF MODERN AND CONTEMPORARY AFRICAN ART Auction In London On 28Th March 2018 www.sothebys.com

Maggie Laubser,Seascape with four boats (recto), Portrait of Arnold Balwe, verso, Estimate £12,000-18,000

Nandipha Mntambo, Zeus Estimate £10,000-15,000

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JHB: 011 206 1500 | fineartjnb@stuttafordvanlines.com CPT: 021 514 8700 | fineartct@stuttafordvanlines.com www.stuttafordvanlines.com

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AUCTION ACTION

RESULTS, HIGHLIGHTS AND LOTS TO WATCH ASHBEYâ&#x20AC;&#x2122;S GALLERIES NOW INVITING CONSIGNMENTS Cut-off date for entries: 16 February 2018 Auction Date: 15 March 2018 www.ashbeysgalleries.co.za

Artwork: Herman van Nazareth, 1936, Blue Head Sold for R80 000 Jewelery: An Edwardian Pendant Sold for R50 000

OMNI FINE ART AUCTIONEERS Select Auction 27 February 2018 Viewing Friday 23 Feb- Monday 26 Feb 10Am - 5Pm www.omni.co.za

Selwyn Pekeur, South African 1957 - DANCERS, Cape Town signed and dated 2001 mixed media on an incised panel 80 by 120cm R20 000 - R30 000

W H Coetzer, South African 1900 - 1983, Landscape Signed Oil on board 38 by 47cm R20 000 - R30 000

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EL ANATSUI . MEYINA IZIKO SOUTH AFRICAN NATIONAL GALLERY

17 FEBRUARY 2018 - 29 APRIL 2018

El Anatsui, Fia, 2014, Bottle Caps and copper wire, 280 x 260cm

Curator Bisi Silva in conversation with Sean O’Toole, on the occasion of the opening of El Anatsui’s Meyina at Iziko South African National Gallery. 17 February 2018 (10am to 12pm including a continental breakfast) - booking essential R250 pp - 100 maximum friendssang15@gmail.com or 021-481-3951 for further details Presented in Partnership with Iziko Museums of South Africa, Friends of the Iziko South African National Gallery and Goodman Gallery FRIENDS OF THE IZIKO SOUTH AFRICAN NATIONAL GALLERY

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AUCTION ACTION

RESULTS, HIGHLIGHTS AND LOTS TO WATCH BONHAMS - AFRICA NOW AUCTION AT BONHAMS IN LONDON, 28TH February 2018 Sale Highlights www.bonhams.com

George Osodi, Nigerian, born 1974, Gas Flare 3, 2006 from the series ‘Oil Rich Niger Delta’, 2003-2007, estimate £3,000 - 5,000

Gonçalo Mabunda, Mozambican, born 1975, ‘A throne for two kings’, estimate £10,000 – 15,000

5TH AVENUE FINE ART AUCTIONEERS AUCTION OF FINE ART, ANTIQUES, PERSIAN RUGS & COLLECTIBLES Next Auction 18th February at 10am www.5thaveauctions.co.za

Piet Van Heerden (SA 1917 - 1991) Oil, Landscape with Farm Buildings, 24 x 30

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ACCEPTING CONSIGNMENTS

SELECT AUCTION

27 February 2018 VIEWING

Friday 23 Feb- Monday 26 Feb 10am - 5pm

ENQUIRIES: info@omni.co.za | 021 671 4497 | www.omni.co.za 9 Hemlock Street, Newlands

NOW INVITING CONSIGNMENTS CUT-OFF DATE FOR ENTRIES: 16 FEBRUARY 2018

Auction date: 15 March 2018

+27 21 423 8060 info@ashbeysgalleries.co.za www.ashbeysgalleries.co.za

Herman van Nazareth (1936- ) Blue Head Sold for R80 000

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BUSINESS ART

EXCLUSIVE: 6 QUESTIONS FOR JOBURG ART GALLERY’S NEW CURATOR

CAN HE SAVE THE LEGENDARY INSTITUTION FROM COLLAPSE? EDITORS CHOICE: First Published in Huffingtonpost.co.za Written by Garreth Van Niekerk

Exciting announcements at the Johannesburg Art Gallery (JAG) could herald a ray hope for the embattled institution. HuffPost can officially confirm that the department of arts and culture has finally appointed KwaZulu-Natalborn academic and historian Khwezi Gule as the JAG’s new curator-in-chief. The announcement comes after years without an official leader at the helm of the institution, seeing the JAG suffer a severe maintenance crisis (with the gallery flooding in 2017 due to roof leaks), a previous curator who left abruptly without a vision plan, and repeated questions from the arts community about the gallery’s relevance to the next generation. Gule, who has already begun working in his new role, was previously chief curator at the Soweto Museums, (which include the Hector Pieterson Memorial and Museum and the Kliptown Open Air Museum). Prior to that, Gule held the position of curator of contemporary collections at the JAG, so he is returning to familiar turf.

We caught up with him to discover a little more about the man holding the keys to one of South Africa’s most important art institutions. What are your memories of the JAG growing up? I grew up in the City of Pietermaritzburrg in KZN. My recollection of the JAG are as follows: in 1982, I visited Johannesburg for the first time when I was 10 years old. Myself, my parents and my uncle, who lived in Johannesburg then, once visited Joubert Park. In my memory of that trip the JAG does not register at all. I also remember on the same excursion going to have lunch at the top of the Carlton. The second time I visited Johannesburg was in 1993 as a fine arts student at what used to be Wits Technikon in Doornfontein. This was a short walking distance from JAG, so I used to spend hours at the gallery, never imagining that one day I would work here. 2 What is the vision for your tenure as curator-in-chief? I have seen a number of museums in some

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of the biggest cities –– including Madrid, London, New York and São Paulo, among others –– and I think we need to measure up to those international standards. However, I also think that there has to be a way of rethinking what the role of the museum ought to be in our context. Whether it is in our exhibitions, or in our collecting policies and educational programmes, our ethos has to reflect an African outlook. The JAG has to become one of the leading museums of art on the continent. 3 You previously focused on contemporary collections at the JAG. How will you focus on the historical side of the gallery? The traditional divisions between the various collections within the gallery are becoming less vivid. Collections have to speak to one another in some way. Even contemporary art exists within a particular historical context, so it is always necessary to contextualise and frame all collections and look at them with fresh eyes. The same applies to the traditional South African art collection. We have to constantly find new ways of articulating why these objects are of value, and why we must value and preserve them. We cannot simply assume these things to be self-evident. 4 Previous curators failed the maintenance of the building. How will you address this? The issue of the building maintenance of the JAG is very high on the agenda for the current administration. So I am extremely hopeful that the maintenance challenges will be solved, and that sufficient funding allocation will be made to find a permanent solution to these issues. 5 What challenges are you anticipating? Clearly, priority number one is the collection. We have to safeguard the integrity of the collection –– and part of that is to solve the maintenance issues of the building as quickly as possible. 6 Who are you watching, as the person at the helm of one of the country’s most powerful acquisition budgets?

I wouldn’t like to mention names, but there are many young and brilliant artists, and one always has to exercise caution –– because artists may be highly valued today and disappear from the scene the next day. There is also a need to collect more artists from other African countries. What is the first exhibition you are going to put on? At the time that I am writing these responses, I have only been in this position for three days –– so its difficult to tell. Clearly, there are a number of artists whose exhibitions I have wanted to curate for ages –– again, I wouldn’t like to spell out names right now, but at the moment based purely on my admiration of our collection it is most likely that my first exhibition would be based on our collection. I am also interested in inviting curators who are innovative to work with our collection and our archives. I would be very interested in seeing how they engage with various objects, different histories and different discourses.

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GALLERY GUIDE FEBRUARY 2018

EXHIBITIONS, GALLERY GUIDE & ART TO BUY • ONGOING SHOWS: FEB 2018 • OPENING EXHIBITIONS: FEB 18 • UPCOMING SHOWS: MARCH 2018 ONWARDS

Smith, Banele Khoza, Bewildered, 2017, Acrylic and ink on canvas, 91 x 60cm 74

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Ley Mboramwe - Congo, Lubumbachi, Zambia, Zimbabwe, Cape Town

69 Burg Street, Cape Town info@eclecticacontemporary.co.za www.eclecticacontemporary.co.za +27214224145 W W W. A R T T I M E S . C O . Z A

Body,Soul and Spirit Ley Mboramwe

01/02/2018 55

ONGOING SHOWS: FEBRUARY 2018

ABSOLUT ART GALLERY GROUP EXHIBITION NATURE MORTE ARTWORK BY RONEL HUMAN UNTIL 17/02/2018 WWW.ABOSLUTART.CO.ZA

EVERARD READ ROSWITHA VON GLEHN EXHIBITION IN CELEBRATION OF AN ARTIST WHO LOVED AFRICAN WILDERNESS / UNTIL 17/02/2018 WWW.EVERARD-READ.CO.ZA

UNTIL 09/02/2018

UNTIL 17/02/2018

196 VICTORIA SYNTHESIS- A POETIC UNION OF BEAUTY AND MYSTERY 26/01/2018 UNTIL 19/02/2018

ECLECTICA DESIGN AND ART DIVERGENT TIDES 20/11/2017 UNTIL 20/02/2018

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UNTIL 19/02/2018

UNTIL 20/02/2018

UNTIL 23/02/18

GOODMAN GALLERY CAPE TOWN LOVE IS A DIFFICULT BLUE GHADA AMER AND REZA FARKHONDEH UNTIL 24/02/2018 WWW.GOODMAN-GALLERY.COM

SALON91 MIGRATION SOLO EXHIBITION BY SARAH PRATT UNTIL 24/02/2018 WWW.SALON91.CO.ZA

SMITH GALLERY BANELE KHOZA LOVE? UNTIL 24/02/2018 WWW.SMITHSTUDIO.CO.ZA

UNTIL 24/02/2018

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ONGOING SHOWS FEB 2018

ABSA GALLERY

ART@ALMENKERK SCULPTURE ESTATE - ELGIN VALLEY SUMMER EXHIBITION UNTIL 28/02/2018

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ART@CLOCKTOWER GALLERY ANDILE DYALVANE SOLO: THE LEATHER COLLECTION UNTIL 28/02/2018 WWW.ARTATAFRICA.ART

UNTIL 26/02/2018

UNTIL 28/02/2018

ART@DURBANVILLEHILLS SCULPTURE ESTATE SUMMER EXHIBITION UNTIL 28/02/2018

PRETORIA ART MUSEUM SANDMAN BY NATALIE MOORE ABSA L’ATELIER WINNER UNTIL 28/02/2018

DAVILLE BAILLIE GALLERY ALL IN ONE A VICTORIA YARDS SHOWCASE UNTIL 01/03/2018

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UNTIL 28/02/2018

UNTIL 01/03/2018

PRETORIA KUNSKAMER

BARNARDGALLERY.COM

SOUTH AFRICAN OLD MASTERS, CONTEMPORARY ART & EMERGING AND ESTABLISHING ARTISTS - UNTIL 07/03/2018

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STEVENSON HERE I AM, A CONCRETE MAN, THROWING HIMSELF INTO ABSTRACTION BY KEMANG WA LEHULERE / UNTIL 10/03/2018

UNTIL 06/03/2018

UNTIL 07/03/2018

UNTIL 10/03/2018

A CHANGE IN THE NARRATIVE GROUP EXHIBITION OF ALL ABSA L’ATELIER GERARD SEKOTO AWARD WINNERS / UNTIL 26/02/2018

UNTIL 28/02/2018

BARNARD NEW ROMANTICS UNTIL 06/03/2018

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ONGOING SHOWS FEB 2018

RUST-EN-VREDE CLAY MUSEUM GREEN & GOLD CERAMIC GROUP EXHIBITION 16/01/2018 UNTIL 14/03/2018

LANGKLOOF GALLERY SUMMER EXHIBITION SHEENA RIDLEY UNTIL 26/03/2018

EATWELL GALLERY OPEN STUDIO 01/01/2018 UNTIL 30/03/2018

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UNTIL 14/03/2018

UNTIL 26/03/2018

UNTIL 30/03/2018

THE GALLERY @ GLEN CARLOU

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TERESA DECINTI FINE ART GALLERY SUMMER EXHIBITION UNTIL 31/03/2018 +27 082 432 5188 WWW.TERESADECINTI.IT

IZIKO SOUTH AFRICAN NATIONAL GALLERY MEYINA SOLO EXHIBITION BY EL ANATSUI UNTIL 29/04/2018 WWW.IZIKO.ORG.ZA

UNTIL 31/03/2018

UNTIL 29/04/2018

CURATED BY ALEX HAMILTON CRUEL, CRUEL SUMMER UNTIL 31/03/2018

SUBSCRIBE SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

SANLAM PORTRAIT AWARDS 17 SEPTEMBER | 2017 WWW.ARTTIMES.CO.ZA

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SALON91: MIGRATION

SOLO EXHIBITION BY SARAH PRATT / 24 JANUARY – 24 FEBRUARY 2018 www.salon91.co.za

Migration, marks the artist’s fourth solo project with the gallery following Away; Dog Days; and most recently The Fox, The Owl and The Robber. Migration takes a whimsical look at animals in diaspora. This is not the first time that Pratt has employed the animal in her works, but her employment of them remains vested in the juxtaposition of the unexpected, and the absurdity and humour of dreams. The works communicate the musings of the artist’s own personal struggles with space and place, and humanity’s tenuous link with the natural world. As viewers we are free to muse on the encounters of birds, mammals, plants and other flying things in the ‘nowhere’ place of the picture plane. In spaces described by decorative foliage or a pink sunrise or sunset, Pratt’s encounter of species delicately reflects an uncertain universe. Please join us for the opening at 18h30 on Wednesday the 24th of January. Venue: Salon Ninety One, 91 Kloof Street, Cape Town. For enquiries please contact 021-424-6930 or visit the gallery website www.salon91.co.za

Above: Game Viewing Right: Waiting

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ONGOING SHOWS FEB 2018

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OPENING EXHIBITIONS: FEBRUARY 2018 EVENTS, GALLERY GUIDE & ART TO BUY

Worldart, Dion Cupido, Black on black, 160cm x 140cm, Mixed media on canvas 82

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IN COLLABORATION WITH

EXHIBITION OPENING / SATURDAY 10 FEBRUARY 2018 / 11:00 * at Graham’s Fine Art Gallery

Graham’s Fine Art Gallery 68 on Hobart, Block A, corner William Nicol Drive & Dover Road (entrance off Hobart Road), Bryanston Graham: +27 83 605 5000 Gallery: +27 11 463 7869 graham@grahamsgallery.co.za www.grahamsgallery.co.za

Kalashnikovv Gallery 153 Smit Service Street Braamfontein MJ Turpin: +27 73 124 8183 Matthew Dean: +27 83 781 7406 info@kalashnikovv.co.za www.kalashnikovv.co.za

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OPENING EXHIBITIONS: FEBRUARY 2018 EXHIBITIONS, GALLERY GUIDE & ART TO BUY

GREG KERR FINE ART

Oil painting programmes and mixed media workshops in 2018 Greg is planning year-long programmes in Johannesburg, Port Elizabeth and Simons Town. 4-day workshops in mixed media & pastel in Stanford, Port Elizabeth, Riebeeck Kasteel and The Crags. Contact him at gregkerr@yebo.co.za for more details. FEBRUARY WEEK 1 WEEK 1 FEB

GOODMAN GALLERY JOHANNESBURG CANDICE BREITZ LOVE STORY 01/02/2018 UNTIL 10/03/2018

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ECLECTICA CONTEMPORARY BODY, SOUL AND SPIRIT OPENS 01/02/2018

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01/02/2018 UNTIL 28//02/2018 WEEK 1 FEB

01/02/2018 UNTIL 28/02/2018 WEEK 1 FEB

LA MOTTE MUSEUM FLEURS DE LA MOTTE / WORK BY PAULA VAN, COLLER-LOUW AND TOBY MEGAW 01/02/2018 UNTIL 15/07/2018 WWW.LA-MOTTE.COM

MANZART KARIN MILLER | PAST FORWARD 01/02/2018 UNTIL 28/02/2018 WWW.MANZART.COM

01/02/2018 UNTIL 15/07/2018 WEEK 1 FEB

01/02/2018 UNTIL 28/02/2018 WEEK 1 FEB

NELSON MANDELA METROPOLITAN ART MUSEUM JACK LUGG RETROSPECTIVE 01/03/2018 UNTIL 06/04/2018

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CAPE PALETTE ARTIST STUDIO SUMMER EXHIBITION OF CONTEMPORARY SA ART UNTIL 28/02/2018 WWW.CAPEPALETTE.CO.ZA

OPENS 01/02/2018 WEEK 1 FEB

UNTIL 28/02/2018 WEEK 1 FEB

01/03/2018 UNTIL 06/04/2018 WEEK 1 FEB

01/02/2018 UNTIL 10/03/2018 WEEK 1 FEB

NDIZA GALLERY GORDONâ&#x20AC;&#x2122;S BAY WESTERN CAPE ABOUT AFRICA OPENS 01/02/2018

DIETMAR WIENING ART GALLERY MOTION 01/02/2018 UNTIL 28//02/2018

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Pamela Silver

The Colour of Light

Irma Stern Museum, Cape Town Opening 3rd Feb. at 11.00 +27 (0)216855686 3-24 Feb. 2018

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OPENING EXHIBITIONS / FEB WEEK 1

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UCT IRMA STERN MUSEUM THE COLOUR OF LIGHT. ARTIST PAMELA SILVER. 03/02/2018 UNTIL 24/02/2018 WALKABOUTS AT 11AM ON 7 & 17 & 24 WWW.IRMASTERNMUSEUM.ORG.ZA

PG STUDIO FOREST SENSATIONS CHANGING EXHIBITION OF MIXED MEDIA PAINTINGS OPENS 05/02/2018 0832255786 WWW.PHILIPPAGRAFF.CO.ZA

01/03/2018 UNTIL 27/03/2018 WEEK 1 FEB

03/02/2018 UNTIL 24/02/2018 WEEK 1 FEB

OPENS 05/02/2018 WEEK 1 FEB

RUST-EN-VREDE GALLERY MEDLEY - SOLO EXHIBITION BY MERLE DE JAGER 06/02/2018 UNTIL 14/03/2018

RUST-EN-VREDE GALLERY SOLO EXHIBITION BY SHUI-LYN WHITE 06/02/2018 UNTIL 14/03/2018

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RUST-EN-VREDE GALLERY ONE COLOUR AT A TIME GROUP SHOW IN COLLAB WITH ARFTIST PROOF STUDIO 06/02/2018 UNTIL 14/03/2018 WWW.RUST-EN-VREDE.COM

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06/02/2018 UNTIL 14/03/2018 WEEK 1 FEB

WILLIAM HUMPHREYS ART GALLERY, KIMBERLEY DISTURBED BEAUTY (FLORAL ARCHAEOLOGY) 07/02/2018 UNTIL 28/02/2018 WWW.SALLYARNOLD.COM

OLIEWENHUIS ART MUSEUM CONVERSATIONS WITH MY FATHER BY MONIQUE PELSER 08/02/2018 UNTIL 25/03/2018 WWW.NASMUS.CO.ZA

07/02/2018 UNTIL 28/02/2018 WEEK 1 FEB

08/02/2018 UNTIL 25/03/2018 WEEK 1 FEB

PRIEST GALLERY SARAH GRACE SOLO EXHIBITION 01/03/2018 UNTIL 27/03/2018

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SUBSCRIBE WWW.ARTTIMES.CO.ZA

www.themelrosegallery.com themelrosegallery

craig@themelrosegallery.com

themelrose_gallerysa

10 High Street, Melrose Arch

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OPENING EXHIBITIONS / FEB WEEK 1

PAMELA SILVER: THE COLOUR OF LIGHT AN EXHIBITION OF PRINTS AND WATERCOLOUR PAINTINGS IRMA STERN MUSEUM, CAPE TOWN, OPENING 3RD FEB - 24 FEB www.irmastern.co.za

Colours of Kolkota, Watercolour on handmade rag paper, 75x57 cm 2017

The University of Cape Town’s Irma Stern Museum is delighted to present Pamela Silver’s ‘The Colour of Light’. Pamela, born in Johannesburg and a graduate of the University of Cape Town, is an internationally acclaimed artist. She has exhibited in museums and galleries throughout the world. Her artworks are in the collections of Victoria and Albert Museum, London; Ben Uri Museum of Art, London; Tama Art Museum, Tokyo; Israel Museum; Tel Aviv Museum of Art; and National Museum of Women in the Arts, Washington. In her own words, Pamela is ‘an intuitive artist painting my dreams and experiences’. She ‘is inspired by nature and the colourful Jerusalem garden which surrounds our house and my studio.’ She adds, ‘My travels and

the countries I have visited have inspired me too.’ Her paintings, ‘always start in nature, but transcend to different worlds, different levels of consciousness, memories, feelings, hopes, dreams, moments in time that keep returning.’ The exhibition features watercolours, etchings and monotypes spanning memories of more than fifty years: from her early childhood in Zimbabwe to her latest travels to Kolkata, Lithuania (home of her grandmother who sailed to Cape Town in the late 1880s) and Provence in France. The monotypes inspired by Zimbabwean hills, bushveld and Bushmen Rock Art, are placed in the small middle room of the exhibition. The space, for Pamela is a sanctuary ‘like a little cave’. The titles ‘Carvings in Motobo Hills’ and ‘Drawings in Bushmen Caves’– crystallize the African memories.

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Detail: The Colour of Jacaranda Flowers, Aquatint Etching on Arches paper, 50x50 cm, 2017

Two larger rooms adjoin the ‘cave’. One room is filled with flower paintings - many from her personal collection have not been exhibited before. Series of large, vivid abstract watercolours fill the other room. Gideon Ofrat, veteran art historian, when he viewed her paintings in her Jerusalem exhibition, exclaimed ‘I’m astounded [by] this burst of colourist joie de vivre and emanation of happiness.’*

“My paintings always starts in nature, but transcend to different worlds. Different levels of consciousness, memories, feelings, hopes, dreams, moments in time that keep returning” - (Pamela Silver1994)

Almost every aspect of her work – from the smallest details such as spots of colour to the larger rhythms of brush strokes, patterns, changing colours and symbols – is marshalled to the same end: the surfacing of joy, memories, dreams and moments of time. We delight in her wide-ranging stylistic inflections as in the aquatints and in her flower paintings. Flowers for Pamela, ‘have always been part of my creativity from a very early age … they gave me my sense of colour.’ The kaleidoscope of flower paintings – garden flowers, bright meadow flowers, bouquets are tied together by sensuous colour, shapes, textures and light. Colour and light create and enhance the joyous ambience of the exhibition. Pamela Silver has the rare ability to ‘express such an abundance of happiness.’* Acknowledgement - “I would like to thank Pamela Silver for so generously sharing ‘The Colour of Light’ with me.” - Susan Buchanan

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OPENING EXHIBITIONS / FEBRUARY WEEK 2

IMIBALA.COM/ART-GALLERIES

NELSON MANDELA METROPOLITAN ART MUSEUM STANDARD BANK YOUNG ARTIST 2017 WINNER: BETH DIANE ARMSTRONG - IN PERPETUUM 14/02/2018 UNTIL 26/03/2018 WWW.ARTMUSEUM.CO.ZA

ASSOCIATION OF ARTS PRETORIA ANNUAL STUDENT EXHIBITION 16/02/2018 UNTIL 02/03/2018 WWW.ARTSPTA.CO.ZA

WEEK 2 FEBRUARY 14/02/2018 UNTIL 30/04/2018

14/02/2018 UNTIL 26/03/2018 WEEK 2 FEB

16/02/2018 UNTIL 02/03/2018 WEEK 2 FEB

IMIBALA GALLERY WALTER BATTISS 14/02/2018 UNTIL 30/04/2018

16 -18 FEB 2018 CAPE TOWN INTERNATIONAL CONVENTION CENTRE

16 -18 FEB 2018

BERMAN CONTEMPORARY SOLO PROJECTS | INGRID BOLTON 16/02/2018 UNTIL 18/02/2018 WWW.BERMANCONTEMPORARY.COM 16/02/2018 UNTIL 18/02/2018 WEEK 2 FEB

CAPE TOWN INTERNATIONAL CONVENTION CENTRE

Contemporary Art from Africa and the World INVESTECCAPETOWNARTFAIR.CO.ZA

#ICTAF18 @ICTArtFair

@ict_artfair

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Contemporary Art from Africa and the World SALON91 CAPE TOWN ART FAIR BOOTH B4 -18 FEB 2018 @ICTArtFair 16 @ict_artfair @ICTArtFair

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PRODUCED BY

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PROUDLY PRESENTS

AN EXHIBITION BY :

ALICE ART GALLERY MEET KARIEN BOONZAAIER 17/02/2018 UNTIL 18/02/2018

SANDRA HANEKOM & LIZA WILSON Sunday 18 February 11h00 -22 March 2018 Muratie Wine Estate Stellenbosch. Cecile Blevi 0725535547 www.mokgallery.com. Facebook and Instagram.

WWW.ALICEART.CO.ZA/GALLERY.HTML?ARTIST=38

Gallery hours Monday-Sunday 10.00-16.30

17/02/2018 UNTIL 18/02/2018 WEEK 2 FEB

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OPENING EXHIBITIONS / DEC WEEKS 1-2

PROUDLY PRESENTS

AN EXHIBITION BY :

SANDRA HANEKOM & LIZA WILSON Sunday 18 February 11h00 -22 March 2018 Muratie Wine Estate Stellenbosch. Cecile Blevi 0725535547 www.mokgallery.com. Facebook and Instagram. Gallery hours Monday-Sunday 10.00-16.30

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OPENING EXHIBITIONS / FEBRUARY WEEK 3-4

SLEE GALLERY CELESTÈ VAN BEEK SOLO ART EXHIBITION-CELESTÈ IS AN EMERGING ARTIST WHO SPECIALISES IN PORTRAITURE/MEDIUM: OIL ON CANVAS 20/02/2018 UNTIL 25/02/2018

THE CAPE GUILD OF WEAVERS EXHIBITION OF WORK 2018 21/02/2018 UNTIL 03/03/2018 6 SPIN STREET CAPE TOWN CAPEGUILDOFWEAVERS@GMAIL.COM

ART@ALMENKERK SCULPTURE ESTATE - ELGIN VALLEY SCULPTURES IN THE VALLEY GROUP EXHIBITION 22/02/2018 UNTIL 31/03/2018

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20/02/2018 UNTIL 25/02/2018 WEEK 3-4 FEBRUARY

21/02/2018 UNTIL 03/03/2018 WEEK 3-4 FEB

ART@CLOCKTOWER GALLERY V&A WATERFRONT LOOK@ME GROUP EXHIBITION 22/02/2018 UNTIL 31/03/2018

OLIEWENHUIS ART MUSEUM THE DIN OF DAILY LIFE BY ARLENE AMALER RAVIV 22/02/2018 UNTIL 02/04/2018

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ART@DURBANVILLEHILLS SCULPTURE ESTATE THE LAUNCH OF THE LOOP FOUNDRY 22/02/2018 UNTIL 30/04/2018 WWW.ARTATAFRICA.ART

22/02/2018 UNTIL 31/03/2018 WEEK 3-4 FEB

22/02/2018 UNTIL 30/04/2018 WEEK 3-4 FEB

22/02/2018 UNTIL 02/04/2018 WEEK 3-4 FEB

ALICE ART GALLERY MEET O.GRIET THIS WEEKEND 24/02/2018 UNTIL 25/02/2018

GALLERY 2 SEE ART : CONTEMPORARY ABSTRACT 24/02/2018 UNTIL 23/03/2018 WWW.GALLERY2.CO.ZA

IS ART GALLERY VISUAL DIARIES A SELECTION PAINTINGS BY JACQUELINE CREWE-BROWN 25/02/2018 UNTIL 25/03/2018 GALLERY@ISART.CO.ZA

24/02/2018 UNTIL 23/03/2018 WEEK 3-4 FEB

25/02/2018 UNTIL 25/03/2018 WEEK 3-4 FEB

WWW.ALICEART.CO.ZA/GALLERY. HTML?ARTIST=189 24/02/2018 UNTIL 25/02/2018 WEEK 3-4 FEB 92

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22/02/2018 UNTIL 31/03/2018 WEEK 3-4 FEB

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NiCOLAAS MARiTZ

STUDiO & GALLERY 5 Nemesia Street Darling South Africa

by appointment

078 419 7093 https://sites.google.com/site/nicolaasmaritzgallery/

excellence through possibilty

CAPE TOWN ART FAIR Stand No. E3

William Kentridge - Refugees (You Will Find No Other Seas) - 2017 (detail)

16-18 FEBRUARY 2018

jeanne@artistproofstudio.co.za +27 82 570 6658

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OPENING EXHIBITIONS / FEB WEEK 3

MOK GALLERY, STELLENBOSCH

LOST IN NARRATION - AN EXHIBITION BY LIZA WILSON & SANDRA HANEKOM 18 FEBRUARY - 22 MARCH 2018 / www.mokgallery.com

Liza Wilson, Stories We Are Told 1

The Voiceless Face-The Faceless Voice Vi, The Warrior

“Art has nothing to do with clarity, does not dabble in the clear and does not make clear.” - Samual beckett “art seems to me to be a state of soul more than anything else” - marc chagall

and delusions - artworks made flesh from the flawed and conflicting discourse within. Artworks born from the whisperings of fallen angels rather than man made saints. Hanekom define her paintings as “terrible sweetness’s” - her highly detailed works inspired by the somberly obsessive works of Flemish artists of the latter 16th century and the flotsam of her own feverish internal perversions. Wilson’s Three-dimensional works centers around “a tactile moment of recognition”. Using the weathered remains of lost objects, Wilson “finds” the hidden narrative within the redundant to create her whimsical pieces.

Contemporary society has lately developed a tedious moral and intellectual smugness around the supposed social and political purposes and responsibilities of artworks and artists. Artworks and artists are seemingly to serve some vaguely contrived facile attempt at academic morality and purity. A concept that is contrary to the nature of most artists... who would rather attempt to paint a saint than be a saint. Sandra Hanekom and Liza Wilson both create visual narratives, born from the fluctuating “ordered-chaos” that feeds their creative impulses. Artworks that represent the brittle collusion of the artist’s instincts, sensations, imaginings, memories

The creative process for both artists remains visceral and tactile: The conceptual always subservient to the instinctual - Thou ght always subjugated to sensation. The personal, the unspoken and the hidden and defiantly “unclear”.

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Sandra Hanekom, Death And The Maiden Oil on Canvas Oval -500mm by 400mm

LIZA WILSON “All stories are derived from the Akashic (Sanskrit; Ether) records where according to Ervin Laszlo: “ …this Akashic Field is the element in the cosmos that records, conserves and conveys information.” It is believed that every emotion, action or thought throughout History, leaves an “imprint on this all-pervasive energetic substrate.” Like in Salman Rushdie’s “Haroun and the sea of Stories” we will find in the deepest part of the ocean the currents that carry all the story lines.” I choose to work with discarded materials because trapped in each found object lies a story, a history. These recovered materials and objects already present a visual voice. This becomes my point of departure. Liza was born in 1959 and holds a Bachelor of Arts in Fine Arts qualification. She has won the Sasol New Signatures Art Award, participated in numerous prestigious exhibitions and now lives in the Northern Cape village, Victoria West.

SANDRA HANEKOM Sandra Hanekom was born in 1971 in Bellville. After studying at Stellenbosch University, she started her career as an artist and curator. Her artworks are represented in Corporate and Museum - collections both in SA and abroad.Hanekom served as the Visual Arts Curator of the Klein Karoo National Arts Festival from 2012 - 2015. She has been nominated for various Art Awards for her solo-art exhibitions and curatorships, receiving 2 KKNK Kannanominations, 2 Kyknet Fiesta Nominations and 2 Woordfees nominations. She received the Woordfees award for Best Visual Art production in 2015 for her Solo-exhibition “MUSEUM: Van Been en As” and a KKNK Kanna Award for her skills as the Curator of the 2016 “Huisgenoot, Hartgenoot, Kultuurgenoot: 100 Jaar” exhibition. Her exhibition “Bosch in Afrika / Bosch in Africa” at the 2017 Woordfees is nominated for a Kyknet Fiesta.

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ALICEARTGALLERY FOR THE ULTIMATE EXPERIENCE IN ART

SINCE 1990

FORTHCOMING EXHIBITIONS 2018 FEBRUARY 10 - 11 Christelle Pretorius 10 - 11 Anton Gericke 17 - 18 Karien Boonzaaier 24 - 25 O.Griet

APRIL 31 - 1 Giorgio Trobec 7 - 8 Monica Cserei 21 - 22 Petro Neal 28 - 29 Karien Boonzaaier Karien is a woman who loves life! Her

JUNE 2 - 3 Petro Neal 2 - 3 Monica Cserei 9 - 10 Giorgio Trobec 16 - 17 Frances Wedepohl 30 - 1 Christelle Pretorius

heart and home are open to people who needs her most. Her friends say that there is something in her that will always be child and just like a little girl, she’s always busy with something.

Nasser Zadeh, City scape, Oil on stretched canvas, 1215x890, R42 500

There is a strong sense of flux in Nassers work and the paintings in ‘Future Memories’ pull the viewer between a number of dichotomies. While the scenes are timeless, the relationship between the people and their environments is fleeting.

MARCH 3 - 4 Art in the Garden 3 - 4 Giorgio Trobec 3 - 4 Frances Wedepohl 10 - 11 Christelle Pretorius 17 - 18 Derric van Rensburg 17 - 18 Karien Boonzaaier 24 - 25 Petro Neal

Wakaba Mutheki, Alice Pretorius private collection, 1200x900

JULY Karien Boonzaaier, Still life, 250x200, Acrylic on canvas, R3 300

MAY 5 - 6 Art in the Garden 12 - 13 Glendine & Gerrit 12 - 13 Anton Gericke 19 - 20 Giorgio Trobec 26 - 27 Jonel Scholtz

7 - 8 Giorgio Trobec 7 - 8 Karien Boonzaaier 21 - 22 Petro Neal 28 - 29 Frances Wedepohl 28 - 29 Art in the Garden

Duggie du Toit, Red onions, Oil on board, 600x350, R14 500

Tony de Freitas, In the blue, Oil on canvas, 450x600, R17 200

“Art satisfies me intellectually, music more emotionally. I wouldn’t shed tears over a painting but over a piece of music,

Book your next event @ Alice Art Gallery

certainly. What I’m doing is playing jazz with

Open Tues - Sun from 09:00 - 16:00

paint.” - Tony de Freitas

www.aliceart.co.za | 54 dryf road, ruimsig, roodepoort

Alexis, Langebaan beach, Acrylic on canvas, 600x500, R8 400

“Art enables us to find ourselves and lose ourselves at the - Thomas Merton same time.”

AUGUST 2 - 3 Petro Neal 2 - 3 Monica Cserei 9 - 10 Giorgio Trobec 16 - 17 Frances Wedepohl 30 - 1 Christelle Pretorius

OCTOBER 13 - 14 Monica Cserei 20 - 21 Giorgio Trobec 20 - 21 Anton Gericke 27 - 28 Portchie

NOVEMBER 3 - 4 Petro Neal 3 - 4 Frances Wedepohl 15 Alice Art annual auction 24 - 25 Giorgio Trobec

“Art is a human activity consisting of this that one man consciously, by means of certain external signs, hands on to others feelings he has lived through and that others are infected by these feelings and also experience them.” - Michael Heyns

Adriaan Boshoff, In anticipation, Oil on board, 220x140, R65 000

A huge variety of original, well-known South African artworks will go on auction every year with no reserve prices. Glendine, Little town, 900x900, Acrylic on stretched canvas, R30 500

DECEMBER

SEPTEMBER 1-2 1-2 1-2 8-9 8-9 14

1 - 2 Karien Boonzaaier 1 - 2 Anton Gericke 8 - 9 Jonel Scholtz 15 - 16 Christelle Pretorius 22 - 23 Giorgio Trobec 29 - 30 Frances Wedepohl 29 - 30 Petro Neal 29 - 30 Arts in the Garden

Art in the Garden Giorgio Trobec Anton Gericke Petro Neal Petro Neal Alice Art closes for 2018

For over twenty eight years we have provided useful guidance and valuable advice to emerging and established Michael Heyns, Slordig ek, Oil on board, 850x550, R45 200

www.aliceart.co.za

artists. The new season for Art in the Garden has started and our next exhibition date is 3 - 4 March. Please like our Alice Art Gallery group on facebook to be updated on what is happening next at Alice Art Gallery

Frans Cronje, Safekeeping, Mixed medium, 410x600, R10 900

Johan Smith, Summer peace, Oil on canvas, 350x350, R17 300

Este Mostert, Landscape, 400x300, R6 500

AliceArtGallery | 011 958 1392 | 083 377 1470 | info@aliceart.co.za

PROVINCIAL GALLERY LISTING

RUSSELL

RUSSELL KAPLAN (JHB) 5th 6Avenue Auctioneers STEPHAN WELZ & CO. (CT) ART GALLERIES, SOUTH AFRICAN SUPPLIERS AND AUCTIONEERS 5 June 2017 11 JuneAUCTIONEERS 2017 - 7 June 2017 24 June 2017

STRAUSS & CO (JHB)

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5th Avenue Auctioneers

6 - 72 June 20172017 Viewings: – 4 June Viewings: 2 – 4 June 2017 www.straussart.co.za www.stephanwelzandco.co.za JHB WC KZN PTA

11 2June 20172017 Viewings: – 4 June Viewings: 9 & 10 June 2017 www.stephanwelzandco.co.za www.5thaveauctions.co.za

Viewings: 9 & 10 June 2017 Viewings: 21 - 24 June 2017 www.5thaveauctions.co.za rkauctioneers.co.za

EasternEast Cape London

Alexandria East London

QUIN SCULPTURE GARDEN & GALLERY VIEW A PERMANENT EXHIBITION OF WORK BY SCULPTRESS MAUREEN QUINBryant / OPENGallery 9AM - 4.30PM Ann No 9 MONSt Marks SATURDAY 9AM 1PM www. Road, FRI Southernwood, East -London, WWWQUIN-ART.CO.ZA annbryant.co.za

EC Free - ALEXANDRIA State

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ABSA GALLERY MONTHLY CONTEMPORARY ART

Oliewenhuis Art Museum is a satellite EXHIBITIONS AND THE PROMINENT National Arts Festival of the National Museum, Bloemfontein, L’ATELIER AWARD. anABSA agency of the 29 Department of Arts and Opening June 2017 TOWERS NORTH BUILDING Culture. 161 MAIN STREET

Eastern Cape Port Elizabeth

Vincent Art Gallery The home of Contemporary Fine Art and the Masters. We Bryant also offer professional Ann Gallery No 9 St framing, Marks decor, Southernwood, ceramics, Eastpewter, semiRoad, London, www. precious stones and silver jewellery, annbryant.co.za www.vincentartgallery.co.za

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ry with a lery with Meander ook.com/

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Chris Tugwell Art Gallery The Chris Tugwell Galleries, in existence for over fifty years, workGallery fromCELLAR some of South Walkershowcase Bay Art A Selection SARONSBERG Africa’s mostAfrican excitingContemporary and RENSBURG talented artists. of South Artists RUHAN JANSE VAN This includes paintings, glassLouis and including Solly Smook,ceramics, Jimmy Law, EXHIBITION limited bronzes and Dall sculptures by Chanu, edition Claire Denarie,Tay and many well-known South African masters, Brooklyn, more, Hermanus, www.walkerbayartgallery. Pretoria, www.christugwell.co.za co.za WWW.SARONSBERG.COM

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Hout Street Gallery Specialising in paintings and fine art by more than thirty The Loop Open Art Foundry & Friday Sculpture SA artists. Monday to from Gallery and network for theto 8.30am Atocollaboration 5.30pm; Saturday 8.30am avid art patron and collector as well as a 1pm and Sunday by appointment, Paarl, full service facility for the artist. White River, www.houtstreetgallery.co.za www.tlafoundry.co.za

Robertson

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Durban Art Gallery KwaZulu-Natal Collections - an exhibition of works from the permanent collection of the KZN Museum Services, 30 Anton Lembede St. From Codesa to present, www.durban.gov.za

Western Cape

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Pieter van der Westhuizen | New edition of 8 landscape prints View at www.carmelart.co.za

The Nelson Mandela Metropolitan Art Museum is home to a comprehensive collection of South African art and craft and specialises in the art of the Eastern Cape Province. Through a dynamic schedule of temporary exhibitions the Art Museum aims to educate and entertain visitors. Opening times: Weekdays from 09h00 â&#x20AC;&#x201C; 17h00 Entrance free, except for events with advertised fees COntaCt details: 1 Park Drive, Port Elizabeth 6001 T: +27 (0)41 506 2000 F: +27 (0)41 586 3234 Website: www.artmuseum.co.za Email: artmuseum@mandelametro.gov.za Visit our facebook page

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John Muafangejo Adam And Eva - 1968

John Muafangejo

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ART LIFE

HELMUT STARCKE (1935-2017)

MAKER OF ARRESTING, EMBLEMATIC AND ICONIC IMAGES Hayden Proud, Iziko SA National Gallery, Iziko Museums of South Africa, January 2018

Reclusive, modest and largely underrated by the world of contemporary art, Helmut Starcke, who has died at the age of 82, was a maker of arresting, emblematic and iconic images. Starcke’s repeated demonstrations of visual ingenuity and dynamic pictorial resolution were combined with an unsurpassed virtuosity in the handling of paint. In this there were few artists in South Africa over the past 50 years who were his equal. One of the first to adopt the new water-based acrylic paints when they first appeared on the market in the early 1960s, he was to make this medium very much his own, producing many canvases of distinctive intensity and resolution.

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Born in Germany and initially apprenticed at the Werbekunst Publicity Studio in Frankfurt, Starcke settled in Cape Town in 1958 at the age of 23 and worked for several local ad agencies. Advertising remained his mainstay until he began teaching graphic design at UCT on a part-time basis. His appointment as a full-time lecturer there from 1973 thereafter allowed him more time and space to further his ambitions and explorations as a practicing artist. Prior to this, as early as 1961, he had already garnered favourable critical attention with his first solo exhibition at Fabian Fine Art. His acerbic caricatures of white South Africans in the era of grand apartheid were inspired by the work of the American social realist Ben Shahn (1898-1969). His painting Government Avenue (1961) from that period now seems, in retrospect, very much ahead of the activist and socially-critical South African art that emerged after 1976. In the 1960s, Starcke even ventured into installation art and sculpture, collaborating with like-minded experimentalists such as Kevin Atkinson and Richard Wake in the creation of works such as The Box (1967), which was an environment consisting of mirrors, light and sound shown at a local design expo. Working on the cusp between advertising and fine art, Starcke, like others of his generation such as the American James Rosenquist (1933-2017), engaged with the emergence of Pop Art and Photo-Realism over the years that followed. His painting The Hitch-Hiker (1967) was perfectly attuned to the media-derived imagery, flattened forms and electric palette of Pop art, and in other works he experimented with fields of dots and ellipses, akin in some respects to the print-based Ben-Day dots deployed by Roy Lichtenstein (1923-1997) in his comic-based works. In these endeavours, the flat opacity of the new acrylic paint was to prove the perfect medium.

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Dreams and Nightmares of M. de la Q. # 4 (2003) acrylic on canvas, Standard Bank Collection, Johannesburg

“If I did not create my own distinctive style, my own voice from all this wealth of inspiration and influence , then I would have failed miserably.” W W W. A R T T I M E S . C O . Z A

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Clio, The Muse of History (2001) acrylic on canvas, Iziko Sang Collection 112

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ART LIFE

Ritual (2011), acrylic on canvas, Iziko SA National Gallery

Starcke’s mastery of acrylic, however, was to eventually lead him in new directions; towards a more intense fusion and translation into paint of photobased images, sometimes with an almost hallucinatory effect. His Caprivi of My Mind series of the 1970s engaged more intensively with African subject-matter, highlighting the political unease and social contrasts of our subcontinent at the time. If his work of the 1970s revealed something of a re-engagement with the human and the political, the work of the 1980s revealed a new stance in favour of a return to nature. “The more I learn about man’s tireless abuse of nature, Starcke stated at the time, “the less interested I am in the human condition”. The works of this period, typified by works such as The Burning Bush (Strelitzias)

(1983) and For Cherylle (no. 3) (1983) evoke the spiritual sublime in nature simply by according the image an iconic centrality in his composition. In The Burning Bush, as Starcke put it, “the combination of flames and flowers evoke a superior order of nature; of supernature triumphant”. In subsequent paintings made over the following years, such as Ritual (2011), Starcke continued, often on canvases of some considerable scale, to ponder the symbolic and ecological implications of the juxtaposition of fire and flower. In many paintings, the magnified Cape fynbos came to signify not only the spiritual, but also the mortal struggle between nature and “progress” in the new era of “climate change”. Fire, the most animate, luminous, alluring, and spiritual of the four elements, begins to assume a more sinister aspect.

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The Burning Bush (Strelitzias) (1983) acrylic on canvas, Sasol Art Collection

Starcke’s draftsmanship had flair underpinned by firm discipline, and his brush was wielded with a surety of touch and sensitivity. In the early 2000s, he created a compelling series of paintings that reconsidered the legacy of the Dutch Old Masters in relation to the history of colonialism at the Cape. “Somewhere between the glory of the art and the shame of the reality lies my justification for what I have been doing”, he said. Working as he did with the interactions and reactions that took place at the cultural interface between Africa and Europe, Helmut Starcke has bequeathed a rich visual legacy that is unique in South African art, and which is especially particular to the Cape. After all, who, apart from him, has ever proved capable of transforming that most clichéd of flowers “the protea” into high art?

Helmut Starcke (centre) with Kevin Atkinson (left) and Richard Wake (right) in their installation work entitled The Box (1967), shown at the Design 67 exhibition in Cape Town

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Government Avenue (1968) acrylic on canvas W W W. A R T T I M E S . C O . Z A

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ART LIFE

BOOKS

The compilers, Riana Heymans, Jan Middeljansand & Prof. Alex Duffey in the archives of the Ditsong Museum in Pretoria, selecting works for inclusion in the publication.

OLIFANTSFONTEIN POTTERIES 1907-1962

Visitors included Gen Jan Smuts; Prince Alexander, the Earl of Athlone; Princess Alice, Countess of Athlone; Lady Caroline Magdelen Oppenheimer, etc.

COMPILERS, PROF ALEXANDER E DUFFEY, RIANA HEYMANS, JAN MIDDELJANS This is the first comprehensive book dealing with the pottery potters of the Consolidated Rand Brick, Pottery and Lime Company Limited. The founding of the pottery owes a great deal to Thomas Major Cullinan(1862). A large number of prominent painters and sculptorscontributed in some or other way to the artworks produced in the Ceramic Studio, e.g. E B Bird, Joan Couzyn,Yolanda Friend, Erich Mayer, JH PierneefandMoses Kotler,to name but a few.

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Full colour and hard cover. 545+ images Size: 245x265mm Published in two editions: Collectorâ&#x20AC;&#x2030;s Edition: Limited to 220 copies, numbered. De Luxe Edition: Limited to 30 copies, specially bound, numbered, signed and each with a copy of original tiles made by Prof. Duffey (inlay on cover). Published by Dream Africa Contact Sass Kloppers Cell: +27 (0) 82 853 8145 Fax: +27 (0) 86 517 5279 E-mail: info@dreamafrica.ws

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You are invited to the

JACK LUGG RETROSPECTIVE EXHIBITION AND BOOK LAUNCH

Fig. 100. Africa, 1959, 75 x 63 cm, Oil on cloth/board, Jack Lugg Art Gallery CC

Nelson Mandela Metropolitan Art Museum, Port Elizabeth | Opening on Wednesday 28 February 2018 | by Dirk Oegema, Director of the Pretoria Art Museum | Exhibition runs from 28 February to 6 April 2018 Ann Bryant Art Gallery, East London | Opening on Friday 20 April 2018 | by Marlene Neumann, South African Master Fine Art Photographer | Exhibition runs from 20 April to 18 May 2018 The House that Jack Built is now for sale at: Fogartyâ&#x20AC;&#x2122;s Bookshop, Port Elizabeth 041 368 1425, fogartys@global.co.za Vincent Art Gallery, East London 043 722 1471, vinceart@lantic.net For overseas and South African book postage quotes as well as artwork purchase queries, please contact: 072 237 2467, plugg@mweb.co.za

All artworks on the Retrospective Exhibitions are available for purchase. Personal sketchbooks (1941-2013) will be on display at these exhibitions.

ART LIFE

BOOKS DANIE DE JAGER SCULPTOR COMPILERS ELSA DE JAGER IN COLLABORATION WITH JOANITA FOURIE (EDITOR) The most complete publication on Danie de Jager to date. The contents include an overview of his life and a photo section of all his works with the background to and history of the work.

Danie working on one of his small cheetah sculptures

In his career he completed more than one hundred and twenty larger than life bronze sculptures. Having worked with realistic and abstract themes, he ranks amongst the most experienced sculptors in the world. Among the most important of these works are: *Four monuments commemorating the Anglo Boer War, Bloemfontein *Large sculptures for cities all over South Africa, America and the Middle East *Many large bronzes for private collectors *Sculptures of political figures *Two large sculptures of African presidents and King Sobhuza of Swaziland *The largesculpture Applause for the State Theatre in Pretoria *Delville Wood Memorial *Nineteen large sculptures for the Palace at The Lost City, Pilansberg

Elsa in Danie s studio

Full colour and hard cover. Images: 300+ Size:245x265mm Published in two editions: Collector s Edition: limited to 200 copies, numbered. De Luxe Edition: limited to 50 copies, specially bound, numbered, signed and each with inlay. Published by Dream Africa Contact Sass Kloppers Cell: +27 (0) 82 853 8145 Fax: +27 (0) 86 517 5279 E-mail: info@dreamafrica.ws Postal: PO Box 1202, Bela-Bela, 0480, South Africa.

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Sas en Elsa de Jager with Shawu in the De Jagers’s garden; one of Danie’s many world-renowned sculptures

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ART LIFE

BOOKS

NEW RELEASES

Sass Kloppers sorting out Gregoire prints for inclusion in our publication Gregoire in Print

GREGOIRE IN PRINT (SOON TO BE RELEASED) THE MOST COMPLETE PUBLICATION ON THE LINO PRINTS OF GREGOIRE BOONZAIER TO DATE. The contents include a short overview of his life, images of sketches for prints, prints, linoblocks, coloured-in prints and works in other mediums e.g. oils, relevant to the prints. No doubt he would have rejected some of the earlier linocuts for inclusion in this book. But by including all of those we could locate, we believe that this collection gives a better overview of his development and ultimate production of many outstanding works in this undervalued medium which should enhance his legacy.

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Emile and Lucian Boonzaier Full colour, hard cover. Size: 245x265mm Images: 200+ Published in two editions: Collector s Edition: numbered and signed De Luxe Edition: Specially bound, signed and hand printed reprint of a Gregoire linocut signed by Lucian and Emile Boonzaier, bound in. Also included is a one hour DVD on the life of Gregoire the man and artist. Published by Dream Africa Contact Sass Kloppers Cell: +27 (0) 82 853 8145 Fax: +27 (0) 86 517 5279 E-mail: info@dreamafrica.ws Postal: PO Box 1202, Bela-Bela, 0480, South Africa.

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MAGGIE LAUBSER

A WINDOW ON ALWAYS LIGHT by MULLER BALLOT SUNPRESS 2016 . Hardcover. 388 pages. c. 400 Full-colour photographs “This thoroughly researched historic document honours Maggie Laubser [as one of the few true South African Expressionists]. ... Muller Ballot reviews the European art movements at the beginning of the 20th century. He pays special attention to German Expressionism, especially the art of Die Brücke putting in perspective the background from which Laubser’s art evolved. [In this book] we have guidance par excellence.” (Elza Miles, 2016). Muller Ballot studied Art History at the University of Pretoria and the Rijksuniversiteit in Ghent, Belgium where he focused on Flemish Expressionism. In 1991 Professor Ballot was instrumental in the founding of the University Museum and the Sasol Art Museum in Stellenbosch. For more information or to purchase this publication, please write to the author: mulbal@tiscali.co.za or phone 083 227 0817 or 028 316 1703. * Also available in Afrikaans * Price per copy: R 400.00 (excluding postage or delivery)

ART LIFE

BOOKS

EDITORS CHOICE

Freedom of Felight, 2011

THE HOUSE THAT JACK BUILT SOUTH AFRICAN ARTIST AND EDUCATOR (1924-2013) Inevitably Jack’s genius and love for art and humanity like a diamond in the rough cannot escape the attention of real art lovers everywhere, and should be cherished and enjoyed. Every time one opens Jack’s book one is seduced by a great sense of love, colour, adventure and music! The House that Jack Built is a magnificent and highly informative biography of Jack Lugg,

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influential South African artist and educator. This substantial and entertaining art book is unique in many ways. It is a touching tribute to a man who made an enormous impact on many lives. It is a valuable historical record of seven decades of exceptional art production by a seminal South African artist in a changing international landscape. It is an inspiring record of the versatile career of an artist and educator. Above all, it is the fascinating life story of a man with formidable talent, extraordinary tenacity, creativity, and captivating wit. - Sandy Shoolman Available at: Fogarty’s Bookshop, Port Elizabeth 041 368 1425, fogartys@global.co.za Vincent Art Gallery, East London 043 722 1471, vinceart@lantic.net

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wallcandies.com Vintage Proteas

ART LIFE

THE GOOD READ: MISERY DOESN’T SEEM TO IMPROVE THE QUALITY OF ART EDITORS CHOICE: First Published on www.atlasobscura.com By Natasha Frost

of the works coincided with happy periods in artists’ lives, and others with times of misery or grief, such as following the death of a friend, lover, or relative. A hue of angst and despair might make work more interesting—the jury’s out on that—but it doesn’t make it more valuable. In fact, work created during what the researchers call “a period of bereavement” was up to 35 percent less valuable than a given artist’s other pieces. On top of that, the morose works were less likely to be included in the collections of major museums.

Francisco Goya’s Saturn Devouring His Son, from his “Black Paintings.”

AFTER PABLO PICASSO’S FRIEND CARLOS Casagemas committed suicide in a Paris cafe, for three years the artist painted only in shades of blue and blue-green. Amid deafness, isolation, and intense anxiety at the end of his life, Francisco Goya covered the walls of his home with harrowing images of death, dogs, and devastation. Before his suicide, Mark Rothko abandoned bright colors for blacks, burgundy, deep green, and other melancholy shades. And in 1888, the year Vincent van Gogh cut off his ear, he produced dozens of extraordinary paintings, including his famous Arles work. Sometimes, it seems, despair nourishes art. But a new study released this week in the journal Management Science begs to differ. Researchers Kathryn Graddy and Carl Lieberman compared the sale prices of some 15,000 paintings, using the Blouin Art Sales Index and the online collections of the Metropolitan Museum of Art, the Art Institute of Chicago, the National Gallery of Art, the J. Paul Getty Museum, and the Musée d’Orsay. Some

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Grief and depression are hard, exhausting, and often monotonous—and this new analysis also suggests that they can actually stifle creativity. In a statement, Graddy said: “Our analysis reflects that artists, in the year following the death of a friend or relative, are on average less creative than at other times in their lives.” Take Claude Monet, for instance. In 1867, when he was 27, his mother died. Four years later, his father followed. In 1879, he lost his first wife, Camille, and in 1911, his second wife, Alice, and oldest son, Jean. Not a single one of his top 10 most valuable paintings were painted in, or even close to, these difficult years. Vincent van Gogh’s Self-Portrait with Bandaged Ear, 1889.

Other studies have shown that firm performance declines if a CEO loses a family member, while the death of an executive is bad news for shareholder value. Even simple numerical tasks are harder to do in the wake of the death or illness of a relative. If, as famed graphic designer Milton Glaser said, “art is work,” it is perhaps no surprise that it suffers when you’re too miserable to concentrate.

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