SA Art Times May 2019 by SA ART TIMES

MAY 2019 WWW.ARTTIMES.CO.ZA

Modern & Contemporary Art, with a special section of Photographs

WINTER AUCTION Johannesburg, 2 June 2019, 6pm

PUBLIC PREVIEW Thursday 30 May to Sunday 2 June, 10 am â&#x20AC;&#x201C; 5 pm

VENUE Gordon Institute of Business Science (GIBS), 26 Melville Road, Illovo

Mikhael Subotzky, Yeoville Ridge (from the Ponte City series), 112 x 249 cm, R60 000 â&#x20AC;&#x201C; 80 000

VALUATIONS & SALE CONTACTS JOHANNESBURG +27 11 243 5243 | enquiries@aspireart.net CAPE TOWN +27 21 418 0765 | ct@aspireart.net

www.aspireart.net

CONTENTS

Art Times May Edition 2019 12) RMB TAF 2019 On The Move 16) FYNARTS 2019 Celebrate Arts and Artists 26) PPC IMAGINARIUM 2019 winners announced 30) LEON VERMEULEN The Sea, Angels & Bearded Ladies 34) KAYU SANG LEE Meditative and Contemplative 38) NICOLAAS MARITZ Landskip IN CONVERSATION WITH XOLILE MTAKATYA by Sheila Petousis 60) 40 YEARS OF COLLECTING Standard Bank African Art Collection 74) THE RISE AND RISE OF COLLECTABLE PHOTOGRAPHS 88) ART AUCTION RESULT HIGHLIGHTS 98) ARTGO ART EVENT GUIDE 114) NEW BLOOD FOR A NEW WORLD 122) A GOOD READ MAY 2019 COVER

Cover: Nicolaas Maritz Starless Night 2019 Enamel paint on board

Abdoulaye Aboudia Diarrassouba, Untitled Image courtesy Sothebyâ&#x20AC;&#x2122;s

Letter from the editor SOUTH AFRICA’S LEADING VISUAL ARTS PUBLICATION

n Monday 15 April around six pm the world’s attention was focused on the fire raging in the sacred Notre Dame Church, Paris, which was built over 850 years ago. The Notre Dame isn’t simply an old stone building. Built in the heart of the French Universe on the Île-de-France, it is a glorious vault of hope, faith and love of a universal humanity. One couldn’t watch and not be reminded about the 9/11 moment. Although no lives were lost, it was a shared moment of deep grief throughout the world. After reading many accounts of the fire, one of the most interesting stories was from one of the brave fire fighters, who rescued many holy consecrated artefacts and paintings from the fiercely blazing church. In basic Catholic terms consecrated artefacts, like the Crown of Thorns, were part of the Body of Christ. Hence they contain a spiritual - physical God manifestation. It soon dawned on me that artists like stone masons, writers, poets, carpenters and weavers are part a broader religious cult of making the presence of God visible. In the Pre-Renaissance, a painting of the Virgin Mary by Giotto was carried in a procession of holy people from the artist’s studio to the local church. Later, The Shakers who built some of the finest furniture and houses saw their labour as an act of worship to God. Long after the Notre Dame has been renovated and its spire returned to the skies, how will our relationship with God and humanity manifest? Will the splendour of visiting the Notre Dame be as moving as visiting an art fair? Besides fast cars, credit cards and awfully designed pillared houses, will we still have the capacity of praising God through beautiful artworks 850 years on? I’m sure we will and you can view them in their various mediums in the Art Times. Editor Gabriel Clark-Brown

CONTACT ART TIMES Tel: 021 424 7733 P.O Box 428 Rondebosch 7701 EDITOR Gabriel Clark-Brown editor@arttimes.co.za ON THE KEYS Brendan Body ADVERTISING & MARKETING Eugene Fisher sales@arttimes.co.za SEND AD MATERIAL sales@arttimes.co.za DIGITAL MEDIA & EVENT LISTINGS Jan Croft subs@arttimes.co.za ARTGO CONTENT info@artgo.co.za RIGHTS: THE ART TIMES MAGAZINE RESERVES THE RIGHT TO REJECT ANY MATERIAL THAT COULD BE FOUND OFFENSIVE BY ITS READERS. OPINIONS AND VIEWS EXPRESSED IN THE SA ART TIMES DO NOT NECESSARILY REPRESENT THE OFFICIAL VIEWPOINT OF THE EDITOR, STAFF OR PUBLISHER, WHILE INCLUSION OF ADVERTISING FEATURES DOES NOT IMPLY THE NEWSPAPER’S ENDORSEMENT OF ANY BUSINESS, PRODUCT OR SERVICE. COPYRIGHT OF THE ENCLOSED MATERIAL IN THIS PUBLICATION IS RESERVED.

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Invitation to Consign Cape Town

Johannesburg

Pretoria

021 794 6461 cpt@swelco.co.za

011 880 3125 jhb@swelco.co.za

012 010 0121 pta@swelco.co.za Downlo ad o ur free o nline bidding A pp

RMB TURBINE ART FAIR IS ON THE MOVE www.turbineartfair.co.za

MB Turbine Art Fair (RMB TAF) is on the move to a new and bigger venue for the 7th edition of the Fair. RMB TAF, since its inception in 2013, has grown extensively year on year and 2019 will see the most substantial Fair yet in a new location – 10 Fricker Rd, Illovo. The event will be held from 12 – 14 July with a preview evening on 11 July.

“Our vision for TAF has always been to develop young artists and grow the market for African art and elevate art collecting across a wider market. South Africans have really embraced this Fair since the beginning and we are delighted to be moving to a bigger venue in 2019. Visitors will be able to view exciting installations, larger gallery spaces and a more conceptually curated Fair but in the relaxed environment that has always been the signature of Turbine Art Fair ” says Fair Founder, Glynis Hyslop.

Proudly partnered for a second year by RMB, TAF is a unique South African art collaboration that brings together galleries and artists from around the country to present and sell works. As a talent brand, RMB nurtures and celebrates creativity widely, making this partnership a natural extension of the Bank’s respect for the possibilities that creativity unleashes. Enabling access to the arts by supporting and exposing emerging artists, attracting diverse audiences and existing and new collectors, demonstrates RMB’s commitment to transforming lives through the growth of the creative economy. “The RMB Turbine Art Fair thoughtfully extends the visual arts market in an environment that is dynamic, accessible and strongly African,” says Alison Badenhorst, Head of RMB Corporate Marketing. “Our own art collection is a tangible example of deliberately sharing the creative energy that art naturally inspires. Totaling 2000 works, the inclusiveness of RMB’s collection comes from it being sourced

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locally, thus communicating the shared African story. Not reserved for executive floors, art is generously accessible throughout the offices and in-between spaces across the workplace”.

that abounds in South Africa and contributes towards building a better future for all,” says RMB Chief Risk Officer and Art Collection custodian Gert Kruger.

RMB TAF is an all-encompassing cultural experience for visitors, with artisanal food and beverages, vibrant entertainment and an interactive public programme. It differentiates itself from other South African art fairs through its accessible pricing strategy. The selling price of artworks generally falls between R1000 and R50 000, which presents opportunities to savvy investors and new buyers to extend their collections easily, and for new artists to thrive off this talent platform.

“The Forum Company is proud co-sponsor of RMB TAF. As leaders in the field of hosting and conceptualising events and pop-ups as well as creating timeless shared experiences through sustainability and innovative, iconic spaces we are hugely excited at the prospect of reimagining of 10 Fricker Rd as the 2019 home of one of Johannesburg’s much-loved events – RMB Turbine Art Fair” concludes Glynis Hyslop.

Galleries representing established and emerging artists, art organisations, collectives, and original projects, present their efforts side by side, creating a synergy that is infectious to all who visit. “Art is a powerful visual communicator, with the ability to represent and comment on our multicultural reality, recording highs and lows in socioeconomic and political history. Through our sustained interest in the arts and support of this Fair, we are looking to celebrate and reward the unique depth of creative talent

For more info: www.turbineartfair.co.za Dates: 12- 14 July 2019 Venue: 10 Fricker Rd Illovo, JHB Tickets: R120 via Webtickets or R150 at door Weekend pass: R250 via webtickets or R300 at door. Children R100: 4 years & older Includes access to children’s arts area and children’s walkabout on a first come first serve basis Students & Pensioners: R100 at door and R80 via Webtickets (Friday only) . VIP opening night (11th July): R800 via Webtickets only

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Artwork: Johannes Meintjes, SA (1923-1980) “Full Moon” Oil on board 45 x 38 cm +27 217627983 11 Wolfe Street Chelsea Village, Wynberg www.eclecticaartandantiques.co.za info@eclecticaartandantiques.co.za

Artwork: Judith Mason SA (1928-2016) Beetle and Birdcage, signed 1973 Screenprint, edition: 1/65 32.5 x 47 cm

+27 214224185 69 Burg Street, Cape Town admin@eclecticaprintgallery.co.za www.eclecticaprintgallery.co.za

HERMANUS FYNARTS 2019

Celebrate South African arts and artists in Hermanus, 7 â&#x20AC;&#x201C; 17 June 2019.

Hermanus FynArts, a fusion of arts festival and winter school, presents more than 150 events, including the work of nearly 200 artists, as well as talks, workshops and tours. Exhibitions

Phillemon Hlungwani is the 2019 Festival Artist. His exhibition of etchings will be opened by Trent Read on Saturday 8 June at 14:00 at the FynArts Gallery. Curator Gordon Froud has focussed on the notion of abstraction for Sculpture on the Cliffs. Abstrakt 2019 is therefore about form, shape, colour, texture, pattern and suggestion rather than the realistic portrayal of the subject matter. Smaller sculptures by current and past participants in this exhibition will be displayed in the Auditorium. Once again, the work of finalists in the Tollman Bouchard Finlayson Art Award will be exhibited on heads of barrels containing award-winning Pinot Noir, Chardonnay and Sauvignon Blanc in the Bouchard Finlayson Wine Cellar. Two other established FynArts exhibitions - ceramics and fibre art - will each feature more than thirty artists in a diversity of styles, colours and textures, at the Windsor Hotel and Old Synagogue respectively. Participating galleries will present a wide range of new and exciting exhibitions. Meet the resident artist at five participating galleries: Terry Kobus at Originals Gallery and goldsmith Geta Finlayson at the Geta Finlayson Studio.

Diane Heesom, Greene

Try Nukuna and Irma van Rooyen

Lizette Chirrime

Crouching Angel

Aloe Racket

Above: Hannalie Taute Right: Ann Marais

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Both artists will present solo exhibitions. Makiwa Mutomba (Makiwa Gallery) will exhibit with a group of colleagues, while Lize van der Walt will present her work at her gallery together with Anton Burger. At Studio G festival goers will find local sculptor, Gerhard van Niekerk, who will present a group exhibition of sculpture and painting. Walkerbay Gallery will feature paintings by Mandy Herdien while at Kunskantoor 2 non-traditional portraiture by Bastiaan van Stenis and Karlien de Villiers will be showcased. Kunskantoor 1 will exhibit four large embroideries by artists of the Keiskamma Art Project. Forty x 40 will offer an exhibition of paintings and ceramics, while Pure South will offer a group exhibition of ceramics. Two pop-up galleries are dedicated to artwork by members of two Hermanus societies: paintings by the Hermanus Art Circle (Whale Museum) and work by the Hermanus Photographic Society (Herman Swart Hall, Dutch Reformed Church). A first for FynArts! An exhibition of drawing, painting, mixed media, frottage, printing and ceramics by children and young teenagers from Zwelihle (Enlighten Education Trust.) A little further afield the Volmoed artists will exhibit their paintings at the Volmoed Retreat R320 in the Hemel-en-Aarde Valley. Wine farms along the R320 will also showcase artworks: Ataraxia (Tay Dall, abstract painting); Bouchard Finlayson (Tollman Bouchard Finlayson Art Award finalists, tondi); Creation (Nanette Ranger, ceramics and sculpture); La Vierge (Carole Carr, suspended art installations); Newton Johnson (Gill Allderman, painting); Whalehaven (Stanislaw Tzrebinski’ painting). And Benguela Cove, on the R43 to Hermanus, will exhibit paintings by Floris van Zyl.

“150 events, including the work of nearly 200 artists, as well as talks, workshops and tours.”

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Strauss & Co Series of Talks and Presentations On the opening Saturday, ten short films, made by William Kentridge between 1989 and 2011, will be screened in three sessions. Each session of Drawings for Projection (also known as The Soho Chronicles) will be introduced by Michael Godby. Other topics include the History and Meaning of Icons by John de Gruchy, and Reflections on Design by Harry Poortman. Executive director of the Norval Foundation, Elana Brundyn, will discuss the growing importance of cultural activity in the lives of people, communities and places. Two presentations related to photography are Free Roaming Horses of the Overberg (Leanne Dryburgh) and Historic Trees of the Cape (Brita Lombard and Ruth Parker). History is also the theme of Christopher Hopeâ&#x20AC;&#x2122;s interview with Marilyn Martin about her new book, Between Dreams and Realities â&#x20AC;&#x201C; a History of the South African National Gallery. In another interview Christelle Webb-Joubert will talk to Samantha Davis about The Power of Art Therapy.

Above: Diane Heesom Green Right:Tay Dall at Ataraxia (Detail)

Phillemon Hlungwani is the 2019 Festival Artist. (Detail)

Workshops FynArts offers a wide range of workshops, many related to the visual arts. Longer workshops include a 3-day workshop, Composition in Art with Andries Gouws, 2-day workshops, Portraying Plants â&#x20AC;&#x201C; an introduction to Botanical Art with Vicki Thomas and Rhythm and Movement in Calligraphy with Andrew van der Merwe. One-day workshops include: Headwork: a sculpture (Dianne Heesom-Green); Origami: a lesson in paper (Niki Daly); Watercolour Basics (Charme Southey) and Introduction to Decoupage (Carol Tait). The programme also includes many half-day workshops.

Walkabouts and Tours Each day a student intern from Stellenbosch University will conduct a walkabout of the FynArts exhibitions at 11:00. There will also be a daily tour to the exhibitions in the RDP village in Zwelihle, and an Art and Vine Explorer to participating wine farms. There are also tours to meet four artists in their homes, or to visit two private collections. View the full festival programme of exhibitions, music, theatre, dance, talks, workshops, demonstrations, tastings and childrenâ&#x20AC;&#x2122;s events at hermanusfynarts.co.za.

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TONY GUM @ PHOTO LONDON 16 - 19 MAY, SOMERSET HOUSE, LONDON BOOTH B4 Christopher Moller Gallery 7 Kloofnek Road, Cape Town; www.christophermollerart.co.za; @christophermoller_gallery

2019 PPC IMAGINARIUM AWARDS Sonwabiso Ngcai wins top accolade www.ppcimaginarium.co.za

TOP ACCOLADE Winner: “Isigu” by Sonwabiso Ngcai

An artwork probing religious cults wins emerging Eastern Cape artist Sonwabiso Ngcai the top accolade in the 2019 PPC Imaginarium Awards. At a gala event held at UJ Gallery on 11 April 2019, emerging Eastern Cape artist Sonwabiso Ngcai was announced as overall winner of 2019 PPC Imaginarium Awards, taking home R150 000 in cash for his sculpture entitled Isigu, or The Snare. A BASA Awardwinning programme, the PPC Imaginarium Awards is the country’s most supportive art and design competition with over half-amillion Rand in prizes awarded across six categories – Sculpture, Industrial Design, Film, Fashion, Jewellery and Architecture – to standout entries that express innovation using PPC cement.

Ngcai secured both the Sculpture Category prize and the Overall Winner ranking for a thought-provoking entry, which provides an analogy for how certain religious cults are ensnaring their congregants. According to the artist’s personal views on the subject matter: “an isigu, in traditional African society, is a contraption used by young boys to hunt birds. It consists of a downward-facing bowl, with one side held open by an upright stick that has a string tied to it, with a few pieces of grain scattered underneath the bowl. Lured by the promise of food, a bird enters the area - the string is tugged, and the bird is captured. In this piece, the use of this simple but effective hunting tool is an analogy for the entrapment of people by religious cults.”

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ARCHITECTURE Winner: “Camara and the Clothing Factory” by Wian Jordaan

INDUSTRIAL DESIGN Winner: “Vertical Concrete Record Player” by Jomar Dreyer

“In South Africa, recent exploitation has included feeding vulnerable congregants snakes and grass, making them drink petrol, sexual abuse, bullying and victimization – all in the name of faith,” he says. “Baited by the expectation of salvation and often seduced by promises of wealth, people are increasingly falling into religious cults. The use of concrete refers to the perceived power of faith and how congregants find strength in the Bible. The construction of the trap alludes to temporary church pop-up structures such as tents or rented buildings that appear in strategic places,” he continues.

FASHION Winner: “Tribe” by Cow Mash

Ngcai probes an aspect of the current South African society by means of a skillfully executed visual metaphor. Other work in the Sculpture Category was categorized by this same desire to interrogate the contemporary African condition. Runnerup in the Sculpture Category was Durbanbased artist Kenneth Shandu for a work that depicts the plight of the homeless as observed on the streets of Durban. A Special Commendation went to Prudence Magagula for her exploration of gender violence and sexism experienced by female mine workers.

JEWELLERY Winner: “Day Zero – Reversible Pendant” by Khanya Mthethwa

All the Winners and Runners-up in the other entry Categories are as follows: INDUSTRIAL DESIGN Winner: “Vertical Concrete Record Player” by Jomar Dreyer Runner-up: “Lime Light” by Jon-Peer Bouwer FASHION Winner: “Tribe” by Cow Mash Runner-up: “My Mother’s Dress” by Cheryl Traub Adler Special Commendation: “Genesis 4: I Am Not the Keeper” by Itumeleng Ramakau ARCHITECTURE Winner: “Camara and the Clothing Factory” by Wian Jordaan Runner-up: “Finding Identity Within the Grid” by Suzani van der Merwe JEWELLERY Winner: “Day Zero – Reversible Pendant” by Khanya Mthethwa Runner-up: “K3 – Keree 3” by Joani Groenewald

SPECIAL COMMENDATION “Genesis 4: I Am Not the Keeper” by Itumeleng Ramakau

FILM There was no Winner or Runner-up in the Film Category but Nirma Madhoo received a Special Commendation. The Overall Winner, Category Winners, Runners-up and Special Commendations were chosen from an unprecedented number of 67 Finalists. In the past five years of the competition, the number of Finalists selected has not exceeded 50 entries on average per year. According to the director of the awards, Daniel van der Merwe of PPC Ltd, the “increasing level of the work entered and the expanding number of Finalists points to the momentum the competition has gained since inception. We commend all our entrants on the fantastic work and extend our hearty congratulations to the winners!” The PPC Imaginarium Awards grew out of the previous and longstanding PPC Young Concrete Sculptors competition. Together, the two awards programmes constitute a 27-year-long legacy and investment in the arts for PPC Ltd.

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

LIMITLESS #SasolNewSignatures

www.sasolnewsignatures.co.za est. in 1947

THE SEA, ANGELS & BEARDED LADIES Solo exhibition by Leon Vermeulen RK Contemporary, Riebeek Kasteel 28 April - 19 May 019 rkcontemporary.com

“When I paint I feel at home. In the studio and in the work. I start and wait for mysteries and meanings to appear. Always surprised and in wonderment. The work is about being in my body and not knowing what it is like to be the other. It is about solitude. Sometimes images I create let me in. Then I am in the work. The work becomes the body. I am always at sea. Between two shores. Between the painting and my existence. I am not afraid. In my skin, separate from you a membrane of paper light and dark archaeological sites excavations shards palimpsests fragile infinities beginnings and endings a love song birdsong breath of air paper quivering ink stains silently growing slowly moving like weather birthmarks departures and full stops……..:”

Sea 1, oil on canvas, 30 30cm

Leon Vermeulen studied art at Stellenbosch University and was lecturer at the Cape Technikon. He now lives and works in Knysna and has exhibited since 1980. He is represented in private and public collections in South African and Europe. For inquiries please contact RK Contemporary art@rkcontemporary.com 083 6533697 www.rkcontemporary.com

Above: Bearded Lady, water colour and ink on Fabriano 100 x 70cm. Right: He is drawing the whole world 2, water colour and ink on paper cutout, 100 x 70cm

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Angel 4, mixed media on paper, 100 x 70cm

He is drawing the whole world 3, water colour and ink on paper cutout 100 x 70cm

Crouching Angel

He is drawing the whole world, water colour and ink on paper cutout 100 x 70cm

Above: Angel, mixed media on paper cutout 100 x 70cm. Right: Water 3, oil on canvass, 30 x 30cm

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â&#x20AC;&#x153;The work is about being in my body and not knowing what it is like to be the other. It is about solitude.â&#x20AC;?

KYU SANG LEE Eclectica Contemporary eclecticacontemporary.co.za

approach, Lee draws on notions of religion, practices of spirituality and meditation, but also equally considers the transitional spaces, the movement of clouds and architectural creations in cityscapes and rural spaces. In this way, Lee both resists dogma and engages with iconography. By paying attention to no one culture or practice, Lee works laterally to reinforce his intent of finding commonalities despite oppositional or diverging ideas.

Dancing Along, Alone, 2017 Archival light jet 59.4 x 42 cm Right: Ein kleines Nacht

yu Sang Lee (b. 1993) is a visual artist who is currently living and working in Germany but previously lived and studied in South Africa. He works primarily with photography, extending and expanding his use of the medium to also encompass installation and video. Acknowledging photographyâ&#x20AC;&#x2122;s capacity to draw on memory, time and space, he focuses on constructing realms of the metaphysical and the surreal. His work is often meditative and contemplative, making use of form as a kind of visual puzzle. A strong aesthetic vocabulary is employed to juxtapose concepts such as dark and light, and time and fate.

Lee grew up between two very different continents and cultures. His contact with divergent traditions and beliefs impacted his approach to working, specifically towards a consideration of working sensitively and with the intention to create work that is universal. Thematically, through this universal

Observing that we live in a world that admires only the extraordinary, Lee shifts his focus to what is often thought to be as banal and insignificant. His practice therefore aims to highlight moments of the ordinary, while through his construction of them illustrating the beauty in their familiarity. Both elegant and sombre, the images shown through video, installation and photography work through abstraction and the uncanny to grapple with the everyday. A significant aspect of Leeâ&#x20AC;&#x2122;s practice is his engagement with other artists and art forms. In previous projects, he has worked with peers to create moving portraits as pictorialized moments of conversations about photography. He has also mused on silence and sounds â&#x20AC;&#x201C; creating videos and photographic series alongside composers, paying homage and investigating music as a practice that can traverse borders and cultures. In 2017, Kyu Sang Lee collaborated with Martin Wilson. The two met while studying at the Michaelis School of Fine Art, and enjoyed working together across mediums through an investigation of space, dimensionality and corporeality. The two reunited to create a second work together two years later. Lee has consistently expressed interest in the universality of music in his work, while Wilson engages with bridging the gaps between science and art by exploring manifestations

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Matisse and the People of the night, 2017 glicée print on Hahnehmuhle Baryta, 5 + 2AP 84 x 117 cm

of light and organic materials. In The Sound of Light – Sequences I – III (2019), which debuted at the Investec Cape Town Art Fair 2019, the duo met to create a deeply thoughtful and quiet work. Through its display, audiences may recall the set-up of places of worship, of the cinema or of seats in front of windows. In each instance, the viewer is called into a place of quiet thought. In The Sound of Light – Sequences I – III (2019), there is a considered contemplation on time-consciousness. By creating a relationship between time and man, Lee and Wilson show the medium of light and sound as a catalyst. Therefore, the formality of Lee’s choices across his artistic practice looks at medium as parallel with specific and pivotal concepts. Lee’s investigation of sound continues as he broadens his use of medium to videos and installations. Since the concept of time is a symbol of universality in his practice, he shows that sound and music are convenient and comfortable ways to be conscious of time as in itself. Through his work, Lee highlights that the realization of the passing of time, ironically implies the limit of time: mortality.

Today, when governments and economies are in crisis, and the obsession with the extraordinary via selfies and social media is overwhelming and very loud, Lee’s work represents a pause, and a moment of stillness. Through his musing on prescribed distances between continents and communities, Lee’s work offers an opportunity to consider the world differently. In this way, Lee shows us how we can choose what to focus on and find beauty within. Despite only recently graduating, Kyu Sang Lee holds a promising career in the art world. In 2017, he won the Celeste Prize in Photography, juried by Fatoş Üstek. He also boasts a handful of awards from the University of Cape Town, including the Cecil Skotnes Award for Most Promising Artist. Since then, he has exhibited with Eclectica Contemporary on numerous occasions, including travelling with them to exhibit in Paris in 2018 and being featured in the Investec Cape Town Art Fair’s 2019 SOLO section. Lee’s work will be featured at the Zeitz MOCAA from May 2019.

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LANDSKIP

An exhibition of recent landscape works by Nicolaas Maritz UCT Irma Stern Museum, Cape Town, 11th May to 1st June 2019

“Most of the landscape works on this exhibition were inspired by a road trip through the Northern Cape and southern part of Namibia during December 2018. Flat and barren wastes, now and then interspersed with sudden crusty rock formations with deep shadows - such personable geological events in an otherwise seemingly endless wasteland. Many miles of obviously dry landscape glided by, as the tar road stretched straight ahead, like a pencil line over brown paper. No rain has fallen here since I don’t know when. But it’s beautiful in its own repulsive way. There were few people about, and the one’s I noticed, seemed to appear out of nowhere, and to be living very far apart. The sheep looked tired, in the nicest way possible. The inhospitable aspect of the landscape was exacerbated by extremely hot weather during the day. And a blistering sun. But towards evening a surprisingly cool wind came up. At night the moon and the stars were so much more brilliant than I could recall. The fresh morning landscape was deliciously bathed in a soft and surreal violet light, which I found didn’t photograph well at all. But the purples have always been such difficult colours, especially when it comes to painting; so often too telling, too prosaic… Crossing the national border between South Africa and Namibia held its own grim fascination; the stern officialese; the strictly formalised process of leaving and entering; the anxious faces of tourists, uncertain in this sudden existential moment, alarmed by loud stamping noises from behind a bullet-proof glass partition. It is a venerable rite of passage, approaching a nightmare, but stoically borne.

Ancient Hill, 2019, enamel paint on board

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Back home, I have to trust my memory to create a painted version of my journey; to relive some of the landscapes. In doing this, I like afresh the problematic flat dimensionality of layered paint, the ambiguous order of a chaotic mess, and the ironic coolth of emotionally charged colour. It’s a struggle, but I feel that I have succeeded if a successful photograph cannot be taken of the finished work; that something is left to the intimacy of a primary encounter. I certainly hope to be painting and showing pictures till I die. This I say to myself over another cup of milky tea in the studio. A hill with trees. The sea at sunrise. The sea almost any time of day. Piles of rocks. Fields of stone alone. Blindingly bright summer days. Cold and bleak winter weather. The golden glow of autumnal light. All these things we can share. No-one can take this away from us. (Oh dear, I clean forgot about global warming. Shit shit shit!)” - Nicolaas Maritz, Darling, 2019 Online catalogue: https://sites.google.com/ view/nicolaasmaritzgallery

Above: Red Anthill near Aranos, 2019, enamel paint on board. Left: Brown Bush Moon, 2018, enamel paint on board

Nicolaas Maritz in his painting studio, April 11 2019

ABOUT NICOLAAS MARITZ Nicolaas Maritz was born in 1959 in Pretoria. He went to school in Pretoria and Port Elizabeth. In 1977, he qualified as an army chef and butcher. From 1978 - 1981 he received tertiary art education at the University of Cape Town. His first one man exhibition was held in 1976, in Port Elizabeth, and he has exhibited regularly at galleries and museums in South Africa and overseas. The artist’s works are represented in most of the art museums and public collections in South Africa. His work can be seen at the South African National Gallery, the art collections of the University of Cape Town, Sasol US Museum, and the Sanlam art collection. Maritz has lectured in art and design at the universities of Cape Town and

Stellenbosch, as well as at private art schools in Cape Town and Pretoria. The artist has received recognition for graphic design, and for illustrations of children’s and other books, notably two American illustration awards. Nicolaas Maritz has extensive internet presence, and any search result will show several sites, image galleries, as well as references to his work as an experimental musician. The artist lives and works in Darling, where he has a permanent exhibition space, the Maritz Museum, open to the public by appointment. His hobbies are cooking, gardening and armchair installation art.

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Ndikhumbule Ngqwinambe, (1977 - ), Walk of Numbers, 2010, oil on canvas.

A Century of South African Art from the Sanlam Art Collection 1918 – 2018 An exhibition of exceptional works from the Sanlam Art Collection tracing South Africa’s transformation in art over a century

Polokwane Art Museum c/o Grobler and Hans van Rensburg Streets, Polokwane

16 May – 12 June 2019 Viewing Times: Monday – Friday 09:00 – 16:00 Saturdays 09:00 – 12:00 Tel: 015 290 2578 Email: sanlamart@sanlam.co.za Web: https://www.sanlam.co.za/about/artcollection

In Conversation With

XOLILE MTAKATYA By Sheila Petousis

olile Mtakatya was born in 1968 in Cape Town Khayalitsha, his work hangs in public collections nationally and internationally including SA Breweries, Nandos and Old Mutual. In conversation with Xolile we reflect on his career from the day he walked through the doors of the Cape Gallery in 1999. It becomes evident that his vibrant abstractions and daily impressions speak to our common humanity and his love of people. The Cape Gallery, Sheila: Hello Xolile do you remember me? I’m working for Gail, my mother, I studied graphic design and later print making. Xolile Mtakatya: Oh! I studied graphic design for a year, do you know who my lecturer was? Nicholas Maritz! He was my first lecturer at the Foundation School of Arts, I still remember him saying ‘The eye sees and the mind perceives’ S, CG: Was that the first thing you studied? XM: No, I started with the Community Arts Project in Woodstock (CAP) in 1987. On my first day in Barbara Jackson’s class I saw Ricky Dyaloy with a sculpture he had made and I was like - Ay! This young kwaai, he can do this! I was coming from detention in Mitchels Plein, and I was told to go to CAP. S, CG: You were arrested? XM: I was the media convener for the South African Youth Congress and had banned political material. The the first time I was arrested that was in 1986, I escaped, then about thirteen policemen came to take me back. Yes… and then I went to CAP… Velile Soha showed me the way… Ricky was there, I was impressed he was a young guy.

The Flight II, oil and charcoal on canvas, 68 x 68 cm

Crossing of Cultivation, 200cm X 100cm, Photography, resin, Found objects, Paint, Layers

I attended classes with Brett Murray, Sue Williamson, Lisa Brice… Lionel Davis… Billy and I became friends. We would draw on the way home in the train and go to parties at the Base in Shortmarket Street… meeting people like Roger Meintjies and Beezy Baily. We would collaborate on projects with fellow artists… Louis Jansen van Vuuren, Tamlin Blake, Zwelethu Mtetwa. S, CG: It was a dynamic time. XM: Ya that time, ‘The Purple Rain’ in town and resistance art. S, CG: You found your expression through art at CAP when you could have been angry. This is a lesson in peace we could all learn from you. Once you completed CAP, where did you study? XM: The foundation school of art with Barbara Pitt. Tyrone Appollis studied there before me, I admired him for his expression. Me and David Hlongwane and Solomon Siko, we used to draw until morning, cooking rice with Saldanha (Pilchards) on the heater. I was part time, Solomon Siko and Billy, the big guys were full time. They would say, who is this artist? This boy must stop coming here, he disturbs us! My inspiration was from Billy, Solomon and Lionel Davis who taught me life drawing… my first time to see a white woman naked, you know those days… sorry (he laughs) S, CG: No worries, after that you got involved with Thupela workshops? XM: Aah yes, the name Thupela means teaching by example, it’s a Sotho name. Around this time I discovered drawing was my medium. Rose Korber jokingly called me the black William Kentridge. I have collaborated with many workshops and initiatives, nationally and internationally. In 2000 I did a mural in Essen with Mural Global – people were surprised how I would draw from memory. (Mural Global was chosen by UNESCO in 2001 for their contribution – a dialogue between cultures.) I started my own workshop – Khaymep inearly 90’s. Previous Page: Street Theatre II, pastel, 65 x 98 cm. Right: Black and white with Baboon

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The Flight I, 74 x 60 cm, oil and charcoal on canvas

S, CG: Listening to you I see a dramatic past filled with vibrant colour and stories you had to tell. Now you speak of healing and reflection. Is abstraction a way of connecting with your feelings?

the street. This boy’s mother is my cousin. It takes a village to raise a child. These boys are vandalising people’s houses taking TV’s and smoking Tik. He was arrested now now.

XM: I enjoy Abstract. I have recently done a mural for Nandos in Long Street inspired by those late nights with people I knew. When I have a story to tell, I draw figuratively. I like drawing women – monumental women. They are the ones who raised us and they are the ones who are often abused… children too. I want to show people what is really happening, how do we find harmony and respect for each other? I was cooking lunch for my uncle today and a boy climbed through the window across

S, CG: These daily moments you describe things that happen in our communities… that is what is occupying your thoughts, now as we talk, finding balance.

Xolile’s exhibition will be on show at the Cape Gallery until 24th May, he is also working on an educational initiative at Goodwood prison in partnership with correctional services.

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PAUL VAN RENSBURG Expression Of Colour Global Gallery

www.globalgallerypaulvanrensburg.com

Movement, Acrylic on Canvas

aul was born in Queenstown, Eastern Cape in 1963. He specialises in impressionistic oil paintings. Â He is well known for his distinctive style, resulting from using knives, brushes and fingers as tools. Paul started to express himself in all methodologies at a very young age. He is known for his vibrant use of colour and has had numerous exhibitions in South Africa and abroad. After many years of experimentation, Paul has been able to create his own style which has not only inspired young artists but also interested collectors & buyers throughout the world. Morning Mist, Acrylic on Canvas

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With an ever increasing demand, Paul has accepted invitations to exhibit in numerous countries enabling him, as he says, â&#x20AC;&#x153;to share his expressions to a diverse clientele.â&#x20AC;? Since the inception of Global Gallery, based in Cape Town South Africa - with Paul as Co-owner, it has given the public an opportunity to visit and view his raw talent. From humble beginnings, Paul has proved that art can be showcased in many different ways and be made accessible to all who enjoy and love art.

Serene Leopard, Oil & Acrylic on Canvas

African Dawn, Acrylic on Canvas

Rolling Tides, Acrylic on Canvas 54

Autumn Valley, Acrylic on Canvas W W W. A R T T I M E S . C O . Z A

ARTS TOWN

Riebeek Valley awakens with annual Solo Studios event

www.solostudios.co.za

olo Studios, an annual event that has firmly made a name for itself on the events calendar, will be taking place in the Riebeek Valley from the 8th to the 11th of August. This bespoke art experience – now in its fourth year - provides a rare opportunity to visit acclaimed artists in their studios to view and purchase their art straight off the easel. Art on offer ranges from highly collectable pricier originals to smaller, more affordable art works, prints, and offshoot items. So there is something for all budgets. ARTS TOWN explained A colony of acclaimed artists have made the Riebeek Valley their home – no surprise with its breathtaking views and inspirational setting. This has given birth to Arts Tourism, a new form of “industry” in this predominantly agricultural

area, which has subsequently breathed new life into the economy of this rural community. SOLO STUDIOS – Intimate Art Encounters is the showpiece art event hosted by the Riebeek Valley, which has been named “ARTS TOWN” due to the proliferation of artists, art, and related art activities found in the Valley. “Besides Solo Studios, there are many other exhibitions, attractions and activities throughout the year, ranging from artist retreats and workshops, performances, street parties, festivals and the like”, says Astrid McLeod, owner and curator of The Gallery and RK Contemporary, the two permanent galleries in town. “We are truly blessed with the high density of creatives that call the valley home, which has validated us declaring ourselves “ARTS TOWN”!”

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Among the renowned contemporary artists who have made the Riebeek Valley their home, and who will be taking part in Solo Studios 2019, are Andre van Vuuren, Emma Willemse, Jenny Parsons, Tamlin Blake and Riaan van Zyl, to name but a handful. In addition, the valley is home to a myriad of crafters and artisans – jewelers, ceramicists, potters, leather crafters, sculptors, musicians, writers, poets, wine makers, craft brewers, dance troupes and community project participants. More about Solo Studios – Intimate Art Encounters Klaus Piprek, founder and driving force behind Solo Studios explains that you will not find a flea market or beer tents on the village square at Solo Studios. “We welcome visitors to experience our village life as it normally exists, but with just a little extra “zing”, and of course the very rare opportunity to enter the personal realm of our acclaimed artists.” “The event is in its fourth year, and has become known as a platform for art collectors, investors and interior decorators alike to enter into their annual diaries - a weekend on the calendar not to be missed. Besides the more serious business of purchasing art, there are sufficient lighthearted activities to make a long weekend of it. We are renowned for our excellent wines, craft beers, olive products, restaurants, entertainment and Swartland hospitality,” says Piprek. “And what makes this event so unique, is that all the participating artists are resident in the valley, or have their permanent studios here”. The core of Solo Studios is the once a year opportunity to visit the artists in their personal workspaces. Here the buyer can engage with the artists themselves, experience how their work is conceptualized and created, and buy art directly from the artist, “fresh off the easel” so to speak. For the 2019 event, 18 resident artists have been selected as participants. Besides the artists’ studios, one can expect a range of other activities and attractions, including 6 galleries or pop-

up group exhibitions, engaging art related talks, guided walkabouts by renowned art aficionados, impromptu musical events and productions. Pre-booking essential, access and accommodation limited Because the event takes place largely within the homes and studios of the artists, access needs to be limited and controlled, and visitors are therefore strongly advised to pre-book to avoid disappointment. And since it is hosted on a long weekend, accommodation is likely to be filled rather early. Visitors are encouraged to book

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their accommodation well in advance on www.roomsinriebeek.co.za. Tickets are sold through Webtickets, the link being through the website www.solostudios.co.za, and come in a variety of options. This ranges from the Premier Weekend Pass at R395.00 for the weekend, to day passes at R195.00 per day. “The Premier Weekend Pass is the one that sells out fastest each year, as this includes the official opening event, and access to all exhibitions and studios for

the entire long weekend. The exceptions are a few events and performances, which are charged for individually,” says Piprek. “Visitors are advised to familiarize themselves with the programme (which can be downloaded off the website), and with what each ticket entitles them to.” Ticket Sales – www.solostudios.co.za Accommodation bookings: www.roomsinriebeek.co.za Email – klaus@solostudios.co.za Tel. – 074 209 6838

40 YEARS OF COLLECTING

A Celebration of the Standard Bank African Art Collection (Wits Arts Museum) Curated by Dr Same Mdluli Standard Bank Gallery, Johannesburg 13 May - 6 July 2019

was established in 2012. The agreement was formalised in 1979 when the senior executives of both institutions (Mr Ian Mc Kenzie and Professor Karl Tober respectively) signed an agreement based on the common goal of collecting, preserving and conserving African cultural material.

Above: Zulu, South Africa, Induku, (Stick/staff) late 19th century, 106.50 inches. Right: Songye, DRC, Kifwebe (Mask) 33 inches.

An exhibition marking the forty-year anniversary of the partnership between Standard Bank and The University of Witwatersrand of the jointly owned Standard Bank African Art Collection. The 40 Years of Collecting: A Celebration of the Standard Bank African Art Collection (Wits Arts Museum) marks a remarkable partnership between the Standard Bank and the University of the Witwatersrand in building one of the largest classical African art collections in the southern hemisphere, known as the Standard Bank African Art Collection. Then known as the Standard Bank Foundation of African Art, the collection was initially housed at the University of the Witwatersrand Art Galleries and currently at Wits Art Museum (WAM) which

‘It was agreed that a certain sum of money would be made available on an annual basis for the purchase of African Art and this growing collection would be jointly owned by both the Standard Bank and Wits University. From the Bank’s side it was a genuine concern in preserving a fast disappearing cultural heritage of enormous diversity and creativity; disappearing not only because of the urbanization of the Black populations and the resultant relinquishing of traditional skills, but also because of the accelerating interest of foreign dealers and collectors who have been removing the works from their country of origin. It is also possibly the first major financial institution to give tangible proof to a belief in the creative culture of the largest population group in this country. Professing belief is one thing, committing oneself is entirely different’ (Crump, 1989: 1). It is in this sentiment of commitment that the exhibition takes as a reflection of the past four decades of collecting. The exhibition is a kind of trajectory of the collection and focuses on the moments that have shaped and defined an understanding of its many objects, artefacts, artworks and material culture that make up the many groups living in South Africa and Africa today. These defining moments are laid out in the exhibition to map the subtle socio-political nuances of how culture has to a large extent remained the same but is also constantly evolving. From the University’s side the collection as noted by Professor

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Above: Possibly made by Nominwe Dladla, Zulu, South Africa, Isigqiki, (Headrest) 12 inches. Left: Artist - See, Chokwe Angola Staff, 49 inches.

Alan Crump ‘would serve several far-reaching purposes in the struggle for a new and more representative educational system in South Africa. It would facilitate a “hands on” teaching apparatus for History of Art and Fine Arts department’. The exhibition thus also seeks to highlight how the collection has been used as a teaching tool and how this has informed the kind of scholarship engagement around the collection and its significance in shaping an understanding of creative critical thought around notions of representation, identity and heritage. Such engagements have strengthened the relationship between the two institutions in ensuring the conservation and preservation of the collection throughout the past four decades. A substantial part of the exhibition traces the first 10 years of collecting (1979 -1989), an era that in South Africa marked by a challenging time of political tension and socio-economic

difficulties for many. During this period the collection was primarily shaped through the research undertakings of art historians and art scholars of the recently established History of Art department at Wits University. It is important to note that this was also a period when many of the artefacts and objects in this collection and in this realm were gradually moving from ethnographic and anthropological studies to being considered with a different kind of contemplation after moving into the museum and gallery environment. This shift has influenced the kind of research and curatorial responses to the collection which the exhibition illustrates as part of a larger canon of critical engagement with such objects, artefacts and material culture as part of historical documents that present a complex yet hybrid account of South African material culture. While the curatorial approach to the exhibition is cognisant of the debates around the distinction made between this type

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Above: Makonde, Mozambique Lipiko (Helmet mask) 21 inches Left: Igbo, Nigeria, Mmwo (Maiden Spirit Mask) 47 inches

Zulu, South Africa, Umkhambathi, (Beaded apron/shawl) (Shembe - Nazareth Church), 39inches

Yoruba, Nigeria Crown (Coronet as barristerâ&#x20AC;&#x2122;s wig) 16 inches

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Ndebele, South Africa Liphotho (Married woman’s apron) 55 inches

of expressive mode and what is considered contemporary African art in that many of the objects, artefacts and artworks represented in this collection are considered as utilitarian – i.e. objects that are part of ‘a lived experience’it also considers their appreciation for their aesthetic value and appeal but more so for their important function as part of the daily lives of many African societies. Over the years the collection has grown and evolved to reflect the impact of industrialisation and technology in fostering change in materials, style and traditional methodologies and practices. Celebrating this collection through this exhibition is thus also a celebration of the multi-cultural and multi-faceted expressions of South African communities over the centuries. It is also part of a celebration of the past 25 years of democracy that embraces both the

similarities and differences we share artistically as well as culturally. As Standard Bank we are proud of the remarkable contribution we have made in preserving such as important aspect of our rich heritage. The Standard Bank Gallery – located on the corner of Simmonds and Frederick Streets in central Johannesburg – offers free, safe undercover parking on the corner of Harrison and Frederick Streets. Gallery hours: Mondays to Fridays from 08:00 to 16:20 and Saturdays from 09:00 to 13:00. Entrance to the exhibition is free. Online links: Facebook: Standard Bank Arts Twitter: Standard Bank Art #SBGallery Instagram: Standard Bank Arts

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Business Art News

STRAUSS & CO

Sale highlights how artist-teachers have shaped SA art www.straussart.co.za

trauss & Co, the world’s foremost auction house for South African art, is delighted to announce details of its forthcoming Johannesburg sale at the Wanderers Club on 20 May. Following shortly on the company’s recording-breaking R106-million sale in Cape Town, this offering includes important artworks by moderns Alexis Preller, Irma Stern and Anton van Wouw, as well as contemporaries William Kentridge, Penny Siopis and Athi-Patra Ruga.

A dedicated supporter of further education in art, having in 2018 established a bursary for postgraduate study, Strauss & Co is delighted to be offering works by Anton van Wouw representing the cutting-edge of new research. Recent scholarship by Gerhard de Kamper, chief curator of collections at the University of Pretoria, has revealed that Van Wouw worked with five Roman foundries, not three as was long thought. The Strauss & Co bursary will be awarded to a postgraduate student to pursue this line of research. The forthcoming sale includes castings from five different foundries used by Van Wouw, including the previously unknown Buongirolami foundry for his bust of statesman Louis Botha (estimate R200 000 – 300 000). But the undisputed highlight is a full-length bronze maquette of the larger Church Square (Pretoria) sculpture depicting Paul Kruger (estimate R2.2 – 3.2 million), produced by the Nisini foundry and previously owned by Sir Ernest Oppenheimer, who gifted it to the Rand Club, the consignor. Van Wouw’s Kruger bronze is among the sale’s top-five lots by value, ranking alongside a rare mosaic by Alexis Preller and three paintings, including a magnificent still-life by Irma Stern, South Africa’s leading artist at auction. Alexis Preller, Profile Head, oil on canvas, 40,5 by 46cm, R 600 000 - 800 000

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Great anticipation surrounds the offering of Alexis Preller’s only known mosaic, a pristine work depicting five towering figures (estimate R6 – 8 million) that was originally installed at a private home in Waterkloof, Pretoria. The forthcoming sale also includes exquisite smaller paintings, such as A Box of Mangoes (estimate R300 000 – 400 000), and homoerotic student work Two Male Nudes (estimate R250 000 – 400 000) from 1934. Flowers were a staple of Stern’s valued output, her floral still lifes functioning both as a source of painterly innovation and personal delight. Dated 1946, Still Life with Fruit and Dahlias (estimate R12 – 15 million) was produced after Stern’s second visit to Zanzibar in 1945 and portrays a generous bouquet of dahlias in a partially glazed Chinese martaban jar, dramatically presented in a Zanzibari frame with carved flower motifs. Still Life with Basket of Flowers (estimate R4.5 – 6 million) from 1937 records Stern’s fluent use of colour and innovative paint techniques within a nominally constraining genre. In February, Strauss & Co established a new benchmark when it sold a vibrant photograph by multimedia artist Athi-Patra Ruga for R1.7 million. The forthcoming sale includes an early tapestry by Ruga, Ilulwane … he’s not one of youz (estimate R200 000 – 300 000), produced shortly after his breakout textiles inspired by Irma Stern. Other notable contemporary artists with works on this sale are Deborah Bell, Zander Blom, Willem Boshoff, Georgina Gratrix, Moshekwa Langa and – cresting high following his work’s appearance on the cover of Time magazine – Nelson Makamo, whose 2014 charcoal drawing Power over Love (estimate R150 000 – 200 000) is a fine example of his pathosinfused work. Two early works by William Kentridge, South Africa’s most acclaimed contemporary artist, will undoubtedly attract strong bidding: Untitled: Man, Woman and Warthog (estimate R1.8 – 2.5 million) from 1985, and the triptych Art in a State of Grace, Hope and Siege (estimate R1.2 –1.6 million) from 1988 – the latter screenprints are rarely offered as a complete set. Irma Stern, Still Life with Fruit and Dahlias, signed and dated 1946, oil on canvas, 85 by 95cm, R 12 000 000 - 15 000 000 (Detail without frame)

Karel Nel, Presence: Leaf Shrine, North Island, Seychelles, 2014, charcoal, pastel and pigment on bonded fibre fabric, 167 by 167cm, R 400 000 - 600 000

The forthcoming sale includes a soft focus on artists who were or are still educators, with works by prominent teachers such as Bill Ainslie, Karel Nel, Cecil Skotnes and Penny Siopis. Cake: Treats (estimate R400 000 – 600 000) is an early “cake” painting by Siopis made in 1982, when she was still teaching art in Durban, while Nel’s Presence: Leaf Shrine, North Island, Seychelles (estimate R400 000 – 600 000) from 2014 dates from his last years at Wits University, where he taught alongside Siopis. Bill Ainslie is well known for championing abstract expressionism in South Africa, and smart collectors with a keen sense of art history will appreciate his untitled two-metre wide mixed media on

canvas (estimate R80 000 – 120 000). Ainslie is notable for having taught both Kentridge and Sam Nhlengethwa, whose Abstract with Yellow Triangle (R200 000 – 300 000) reveals the influence of his participation in the Thupelo series of artist workshops organized by Ainslie and David Koloane. Strauss & Co will host a preview of its innovative, education-themed sale at the Wanderers Club, Johannesburg, from Friday 17 May to Sunday 19 May, from 10 am to 5 pm. The sale commences on Monday 20 May at 3pm, with the premier Evening Sale starting at 7pm.

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Business Art News

THE RISE AND RISE OF COLLECTABLE PHOTOGRAPHS www.aspireart.net

“Photography is the serious art of our time. It also happens to be the most accessible and democratic way of making art that has ever been invented. Great art is a sequence of moving pictures of the human condition. Today, photography is the only art that seriously maintains this attention to the stuff that matters” – Jonathan Jones, art critic. Photography is everywhere. The rise of social media has led to a huge explosion in the taking and distribution of images. But fine art photographs remain a different category, not confined to the digital or to the medium of the internet. The growth of photographs as an important part of major museum and private collections around the world means that we have moved on from the debate about photographs as merely a tool for documentation and journalism; photographs hold their own as a fine art medium, comparable to painting and other practices. South Africa and the wider continent have a substantial number of artists who work exclusively with photography, or as part of their mix of mediums. Prominent names include Malian Malick Sidibé, Kenyan Cyrus Kabiru and Zimbabwean Kudzanai Chiurai, to South Africans like David Goldblatt, Guy Tillim, Mikhael Subotzky, Pieter Hugo, Athi-Patra Ruga and the much-vaunted Zanele Muholi. In global terms, the photographs market shows a sometimes erratic but consistently and unequivocally upward trajectory over the last three decades. Between 1990 and 2017, when last reliably measured, auction turnover on photography rose 1,330%. In 1990 the average price for a photograph at auction was close to $5,000. Today it is more than double that at $10,200. Yet still the entire segment accounts for just 1.1% of global Fine Art auction turnover. This indicates a highly specialised market with plenty of room for growth in its prices and collector base. Pieter Hugo, Hyena Men of Abuja, Sold: R375 540 74

Guy Tillim, Portraits II, IV, V, VII, VIII, IX, X, XI, XIII and XIV (Mai Mai militia in training near Beni, eastern DRC, for immediate deployment with the APC [ArmĂŠe Populaire du Congo], the army of the RCD-KIS-ML, December 2002) Portraits (Mai Mai militia) Sold: R477 456

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Marina Abramovic, Golden Mask, Sold: R1 477 840

The highest verified price ever paid for a single photograph at auction is German photographer Andreas Gurskyâ&#x20AC;&#x2122;s Rhein II, which sold in 2011 for $4,338,500. Single photographs by Richard Prince and Cindy Sherman, along with a multi-image work by venerated duo Gilbert and George, round out the top four, all with prices just shy of $4m, with Gursky, Prince and Sherman all featuring more than once on the top ten list. These figures are currently more the exception than the norm, and photography still represents, for most collectors, a more affordable way of collecting. The medium is one of the best represented internationally, with many festivals and fairs devoted to photography around the world; many of the most prominent of these are in Africa. Paris Photo and Photo London are the worldâ&#x20AC;&#x2122;s largest such forums, and closer to home we find Bamako Encounters, LagosPhoto and Addis Foto Fest.

Given the rising global interest in photographs, how should art lovers go about growing their own collections? Collecting the medium involves, as with all other types of art, first and foremost a passion for the work. But it also invites an engagement with and understanding of various types of prints and their condition. Over the the past 180 years, scores of photographic processes have been invented and developed. Historical and contemporary photographers have used a wide range of materials for realising images, from silver and sheet metal to glass and paper, all bringing a different end result. While photographs are robust if properly cared for, they are subject to many of the same conditional issues found in prints and mulitples: foxing, creasing, UV degradation and other factors must be taken into account. Also crucial to the collecting process is understanding editioning. Edition sizes and numbers can vary widely, and are factors that

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David Goldblatt, Johannesburg from the Southwest, Sold: R318 640

will affect the price. But certain principles of collecting value hold true – handmade prints by the artist, signed and unique prints will generally be more valuable, as will editions with good provenance. So-called ‘vintage’ prints, made immediately or shortly after the negative is created, will also generally fetch higher prices. South Africa’s photography market, despite a plethora of world-class fine art photographers, has developed more slowly than the major international markets. Aspire has realised consistent success with the medium, however. The auction house’s focus on quality and selectivity in photographs means that Aspire has achieved world record prices at auction for renowned South African photographer Guy Tillim; South African records for Pieter Hugo and Mikhael Subotzky, prices in the hundreds of thousands of Rand for David Goldblatt and Athi-Patra Ruga, and over

a million Rand for a photographic work by highly respected Serbian performance artist Marina Abramović. Given the history of success Aspire has achieved with contemporary photography in previous sales, the auction house has decided to dedicate a special section of its forthcoming sale to photography. “Our approach as an industry thought leader is to focus on segments of the market where we feel we can grow and develop value and returns for our clients”, comments Aspire MD Ruarc Peffers. “Including top-quality work by the likes of Goldblatt, Tillim, Hugo and Muholi in our forthcoming auction on June 2 in Johannesburg, and focusing on photography as an important market niche going forward, is an integral part of that strategy”.

Business Art News

COLLECTING: A LIFELONG COMMITMENT Old Johannesburg Warehouse Auctioneers www.oldjwauctioneers.com

or people who collect, the value of their collections are not monetary but emotional. If not for money, then what reasons do people give for collecting? Three things are generally mentioned -The thrill of the chase; the collecting aspect - trying to put together one of the best collections around, and finally, the social camaraderie when sharing the collection with other collectors. There are two reasons to hold onto collectible items: they’re either valuable, or they’re cherished. If you’re at a crossroads when you need to purge some of your articles, you want to ensure you make smart choices. Opting to keep hot collectiblaes in storage is usually a gamble that will pay off, especially if you’re not ready to sell. The most popular collectibles can change as quickly as the seasons, but there are a handful of items that will always be worth storing with care. These things have merit and are timeless. In fact, top collectibles have maintained or increased in value and will continue to do so. Here are five of the most popular collectibles that are hot and in demand. If you own any of the following, take the time to learn the proper methods for collectible storage to keep your treasures in tip-top shape. Antique Furniture Any time you stumble across something old, it’s worth looking into. Antiques are known for either being worth a ton of money or being virtually worthless. The problem is that it’s almost impossible to tell to the untrained eye. Antique furniture is both functional and in most cases, very well made, which makes it highly collectible. In South Africa, Mid 20th Century modern and contemporary furniture and Africana are highly collectible. Hennie Nieman (SA 1972-) Mythical, Conversation, signed with artist’s initials, dated 09, on reverse, oil on canvas, 67 by 87cm, Sold for R180 188

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Top: Pair of Chinese mother-of-pearl inlaid hardwood throne chairs carved with storks beneath a pine tree and table (3), Sold for R8 409. Bottom: 2008 Shelby Mustang GT500 Supersnake RHD, 5.4l V8, Mammoth supercharger, 6000kms only, super rare modern collectable, will only increase in years to come, Sold for R1 338 000. Right: Beautiful, 5,582ct round brilliant cut diamond, colour M, clarity VS1 - IDL certificate Sold for R444 980

Classic Cars It’s not often any one person has a collection of classic cars, but many people have one classic car that is at the top of all their possessions. An excellent vintage car is well kept, well maintained, and well stored. This might seem like a lot of work, but if you have a passion for cars, it will become a welcomed past time. Wine Wine is often mislabeled as only a drink, but it is indeed a collectible. Some fine wine collections can be worth more than a house! Just like any other collectible, not all wine is created equal. Some wine will be worthless, and some will be worth a fortune. Only a true connoisseur will be able to appreciate the difference between the two. Fine wine gets better with age, which is why properly storing wine is essential for maintaining the value and integrity of a wine collection. In South Africa it is imperative to store wine in temperature controlled rooms. Coins and Notes If you’ve ever read about the worth of collectible coins and currency, you know how valuable specific pieces can be. You may have been excited thinking that you might have a rare penny in your piggy bank, only to spend

hours searching and then realizing you don’t have anything worth more than face value. That’s the thing with this collectible item — coming across the really expensive coins and currency out of the blue is rare. ZAR coins are top of the log in SA. Fine Art and Jewellery Fine art and jewellery are lumped together because they are both highly personal collectibles. People who collect one or the other tend to collect items they like instead of which piece is worth the most money. Sure, an art or jewellery collector will seek out rare pieces, but usually only if that item they seek is aligned with their unique aesthetic. Passing down fine art and jewelry to the next generation is a highly sentimental thing because each collection speaks to the person who collected it in a way that some of these other collectibles can’t. With Old Johannesburg Warehouse Auctioneers’ monthly auctions and specialist knowledge, we can assist with building collections and the purging thereof – 011 638 11650| info@oldjwauctioneers.com |29 Village Rd, Selby, Johannesburg 2001

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OLD JOHANNESBURG WAREHOUSE

Antiques Art & Collectables Auctioneers

29 Village Road, Selby, Johannesburg oldjwauctioneers.com info@oldjwauctioneers.com Tel: 011 836 1650 - Cell: 066 307 5444

William and Mary 1692 gold 5 Guinea Sold for R702 600

Irma Stern “African woman in head scarf” Sold for R444 980

Rolex 18ct gold 1948 MG TC Midget Oyster Perpetual “Black Beauty” Sold for R105 390 Sold for R550 370

18th Century Dutch Coromandel Armoir Sold for R87 825

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

Norman Catherine, oil and sand on board SOLD R85,000 View previous auction results at www.rkauctioneers.co.za

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

Business Art News

STEPHAN WELZ AND CO – MOVING FORWARD www.stephanwelzandco.co.za

Above: Hendrik Christiaan Niemann, (South African 1941 - ), Still Life With Mandolin, Fruit And Vase, signed and dated 16, oil on board, 50,5 by 60,5cm, R 40 000 - R 60 000. Right: Carl Adolph Büchner, (South African 1921 - 2003), Harlequin With Instrument, signed, oil on board, 98,5 by 73,5cm, R 70 000 - R 100 000

n our autumn auction in Johannesburg we are excited to feature a strong showing of works by historical, modern and contemporary artists such as William Kentridge’s evocative set of nine drypoints titled “Thinking Aloud, Small Thoughts” which expands upon key themes and images from the artist’s landmark production of Mozart’s “The Magic Flute”; two works by one South Africa’s master sculptors, Sydney Kumalo: the charming ”Hat On Wheels” and “Seated Figure”, which

showcases the artist’s understanding of form and balance; an intriguing group of still lifes by artist’s such as Gregoire Boonzaier, Frans Oerder, Maurice van Essche, Adriaan Boshoff, Francois Krige and Hennie Niemann Senior; Carl Adolph Büchner’s very large “Harlequin With Instrument”, which depicts as sensitive, white-faced musican against a luxurious sea of blue; and a small landscape in rich red, oranges and purples by the perennial master J.H. Pierneef.

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Franรงois Krige, Still Life With Bow, Arrows, And Gourds, signed, oil on canvas, 34 by 61,5cm, R 50 000 - R 80 000. Right: Adriaan Hendrik Boshoff, Still Life, signed, oil on board, 90,5 by 60cm, R 80 000 - R 120 000.

Frans David Oerder, Still Life, signed, oil on canvas, 36 by 49cm, R 60 000 - R 90 000

Gregoire Johannes Boonzaier, Still Life With Orange, Apple And Pawpaw, signed and dated 1934, oil on canvas, 29,5 by 39,5cm, R 80 000 - R 120 000.

The auction calendar is in full swing with an online auction of art and art books following in mid-May, our premium Cape Town auction will be held in June, before we move back to Johannesburg with another strong showing of art and objects in August. As ever we are inviting consignments for all of our upcoming auctions. Please contact us either via email, our website, or through the Stephan Welz and Co. app for a professional,

Frans David Oerder, Still Life With Irises, signed, oil on canvas, 79,5 by 39,5cm, R 70 000 - R 100 000.

confidential and obligation-free evaluation of your fine art and collectable antiques. For more information please contact our Johannesburg office on 011 880 3125 or email: info@swelco.co.za, you can also view any information on our website: www.swelco.co.za, or download our app, available for both Android and IOS.

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Auction Action

RUSSELL KAPLAN 30 March 2019 Auction Results highlights.

Next art and antiques auction Saturday 11 May 9:30 am www. rkauctioneers.co.za

Norman Catherine (South Africa, 1949 - ), Profiles, oil and sand on board, signed, â&#x20AC;&#x2DC;92, 45.5 x 66 cm, Sold: R 85,000.00 88

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Alexis Preller (South Africa 1911 - 1975), Two Fish, oil on board, signed, â&#x20AC;&#x2DC;48, 14 x 18 cm, Sold: R 140,000.00

Diane Veronique Victor (South Africa 1964 - ), He Who Holds Up the Sky With His Horns, smoke drawing on paper, signed, 2014, 150 x 98 cm, Sold: R 135,000.00

Business Art News

SOTHEBY’S

Fourth dedicated sale of Modern and Contemporary African Art in London totals £2.3 - $3 Million www.sothebys.com/contemporaryafrican

l Anatsui’s shimmering tapestry of aluminium bottle caps leads the sale results, Zebra Crossing 2 doubles estimate to make £1.1 Million / $1.4 Million London, 02 April 2019 – Sotheby’s fourth sale of Modern and Contemporary African Art in London realised £2,316,625 / $3,023,196 (presale estimate: £1.5-2.2 million / $2-2.9 million), establishing new auction records for 11 artists in this category. Hannah O’Leary, Sotheby’s Head of Modern and Contemporary African Art, said: “Exceeding all pre-sale expectations, today’s auction reflects the continued strength of, and appreciation for, the Modern and Contemporary African Art market. Standing at the forefront of the field, Sotheby’s sale saw a multitude of new records for artists from across the African diaspora, including the father of Congolese ‘Popular’ painting Chéri Samba, Moroccan master Hassan El Glaoui, and rising star Eddy Kamuanga Ilunga. We also saw a fantastic result for Ghanaian artist El Anatsui, who will be representing the country for the first time at the Venice Biennale later this year. Today’s auction signals a continued international interest in the category, spanning the African continent and extending across the globe.”

Above: El Anatsui, Zebra Crossing 2, 1,095,000 GBP Right: Hassan El Glaoui, La Sortie du Roi, 137,500 GBP, (WORLD RECORD)

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Above: ChÈri Samba, J aime La Couleur, 93,750 GBP. Right: William Kentridge, Head (Orange) est. £30,000-50,000

The sale was led by contemporary Ghanaian artist EL ANATSUI, whose metallic aluminium bottle cap tapestry, titled Zebra Crossing 2, achieved £1.1 million / $1.4 million (est. £550,000-750,000), after competitive bidding pushed the final total well above the pre-sale estimate, and establishing the third highest price for a work by the artist at auction. The sale coincides with the largest survey exhibition of El Anatsui’s work to date curated by Okwui Enwezor and Chika Okeke-Agulu in Munich and precedes his representation of Ghana at the Venice Biennale later this year. A powerful celebration of his homeland, HASSAN EL GLAOUI’s La Sortie du Roi sold for a majestic £137,500 / $179,438 (est. £80,000-120,000), achieving an auction record for the artist. New heights were reached for rising star EDDY KAMUANGA ILUNGA, aged just 28, when Palm sold for £81,250 / $106,031, storming past the previous record of £65,000 / $92,124 set at Sotheby’s London in March 2018.

Congolese artist and co-founder of the ‘Popular Painting’ movement, CHÉRI SAMBA’s glittering J’aime la couleur from 2005 realised £93,750 / $122,344 (est. £40,000-60,000). SALE OVERVIEW • Fourth sale dedicated to Modern & Contemporary African Art at Sotheby’s • Auction records set for 11 artists • Buyers from the African continent accounted for 70.4% of the total sold by value • Sale included works by 44 artists from 14 countries across Africa • 96% of works in the sale were fresh to auction • Artists from the following countries were represented: Morocco, Ghana, Nigeria, Benin, Ivory Coast, Mali, Sudan, Senegal, Ethiopia, Cameroon, Uganda, Democratic Republic of Congo, Mozambique and South Africa • The sale saw participation from bidders across Africa, Asia, Europe and North America • Pre-sale estimate: £1.5-2.2 million / $2-2.9 million • 75 lots offered

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Alexander Skunder Boghossian, Harvest Scrolls, 62,500 GBP (WORLD RECORD)

NEW RECORDS FOR 11 ARTISTS In lot order: ABLADE GLOVER’s effervescent Market Scene achieved £26,250 / $34,256 breaking the record set by Sotheby’s in March 2018 (lot 2)

A former student of renowned British artist Lucian Freud, HUSSEIN SHARIFFE’s Birth and Death of the Stars sold for a sparkly £12,500 / $16,312 (lot 38)

J.D. ‘OKHAI OJEIKERE broke his auction record twice with two works from his ‘Hairstyles Series’. Untitled from 1980 fetched £7,500 / $9,788 before Modern Suku (1979) set a new benchmark for the artist at £11,250 / $14,681 (lots 10 & 11)

ALEXANDER SKUNDER BOGHOSSIAN’s Harvest Scrolls rolled in at £62,500 / $81,562 (lot 39)

ABDOULAYE ABOUDIA DIARRASSOUBA’s electric canvas Untitled realised £37,500 /$48,938, over double its high estimate (lot 25) A new auction record was set for Senegalese artist OMAR BA whose charismatic painting of anthropomorphic figures sold for £23,750 / $30,994 (lot 29) A powerful celebration of his homeland, HASSAN EL GLAOUI’s Moroccan scene titled La Sortie du Roi reached £137,500 / $179,438 (lot 33)

All eyes were on MALANGATANA NGWENYA’s cerulean canvas Esperando Da Paz (Waiting for Peace), which achieved £16,250 / $21,206 (lot 44) ERNESTO SHIKHANI’s bold Untitled work fetched £5,625 / $7,341 (lot 47) Rising star EDDY KAMUANGA ILUNGA reached new heights with Palm, achieving £81,250 / $106,031 (lot 68) Sotheby’s next Modern & Contemporary African Art auction will take place in London on 15 October 2019.

Previously exhibited at the Saatchi Gallery in London, SALAH ELMUR’s The Family Portrait realised £22,500 / $29,362 (lot 34)

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5 th Avenue Fine Art Auctioneers Pierneef, Oil ~ Sold for R600 000

Next Auction 26th of May 2019. We are now inviting entries for this auction. www.5thaveauctions.co.za

Enquiries: stuart@5aa.co.za ~ 011 781 2040

ALICEARTGALLERY FOR THE ULTIMATE EXPERIENCE IN ART

When I met you in the early 2000â&#x20AC;&#x2122;s, I was drawn to your work because I could see your distinct style, use of colour and talent. Those days you mainly painted soft interiors that invited the viewer to sit down and take a moment to reflect. If I look at your work today - what an amazing privilege it has been to be apart of your journey. Q You are always connected to your work and currently you are focused on mainly figures. Why do you identify this subject matter? A I try to celebrate woman, their beauty as well as their strength. With my figure studies I depict a moment from the past and drag it back into the present. This serves as a metaphor for an experience or feeling that made me grow. I analise my life, mistakes and victories, by painting figures. With these three works I tried to show that although we are all different, our life experiences and challenges are the same, in a way it can unite us making us stronger. Q You have over the last two decades, used the same colour palette. Your tonal values moved to the subdued, resulting in a more sophisticated work A Wow, itâ&#x20AC;&#x2122;s a long time to reflect, leaves one exposed - a lot like my current works. Tonal values for me speaks to mood, it definitely helped me getting the message or connection across. I think it gives me the opportunity to highlight a growth in self-worth that comes with age, belief and confidence in who we are. I find Jonel to be a great spirit to be around. I always feel her energy and her love of life. She is one of those people who influence who you are. Always a great pleasure to have her and her work in the gallery.

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

SINCE 1990

All humanity is passion; without passion, religion, history, novels, art would be ineffectual. Honore de Balzac

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

EXHIBITIONS & GALLERY GUIDE: MAY • Ongoing Shows: May 2019 • Opening Exhibitions: May 2019

Conrad Botes, The Goliath Protocol, Everard Read Circa Jhb

ARTGO.CO.ZA

ONGOING SHOWS: MAY-DEC 2019

EXHIBITION | 11 APRIL - 15 MAY 2019 UJ Art Gallery, Kingsway Campus, corner Kingsway Ave and University Rd, Auckland Park

T 011 559 2556/2099

GALLERY HOURS M O N D AY – F R I D AY 09:00 – 16:00 CLOSED ON WEEKENDS + P U B L I C H O L I D AY S

UNISA IF DEMOCRACY COULD TALK UNISA ART COLLECTION RECENT ACQUISITIONS UNTIL 10/05/2019

UJ ART GALLERY PPC IMAGINARIUM UNTIL 15/05/2019

UNTIL 04/05/2019

UNTIL 10/05/2019

UNTIL 15/05/2019

NELSON MANDELA METROPOLITAN ART MUSEUM WHEN DUST SETTLES 2018 STANDARD BANK YOUNG ARTIST AWARD FOR VISUAL ART-IGSHAAN ADAMS.

EVERARD READ CIRCA JHB CONRAD BOTES THE GOLIATH PROTOCOL UNTIL 18/05/2019

EVERARD READ CIRCA JHB OLIVIE KECK DROP DEAD GORGEOUS UNTIL 19/05/2019

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RK CONTEMPORARY THE SEA, ANGELS & BEARDED LADIES, SOLO EXHIBITION BY LEON VERMEULEN UNTIL 19/05/2019 WWW.RKCONTEMPORARY.COM

THE CAPE GALLERY XOLILE MTAKATYA UNTIL 24/05/2019

SMITH RESCUE REMEDY & UTATA UNDIPHOTHA INWELE UNTIL 04/05/2019 WWW.SMITHSTUDIO.CO.ZA

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GALLERY HOURS M O N D AY – F R I D AY 09:00 – 16:00 CLOSED ON WEEKENDS + P U B L I C H O L I D AY S

K I N G S WAY C A M P U S CNR UNIVERSIT Y ROAD + K I N G S WAY AV E N U E AU C K L A N D PA R K

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ONGOING SHOWS: MAY-DEC 2019

IS ART GALLERY ALET SWARTS AND JACOBUS KLOPPERS UNTIL 26/05/2019

ART@39LONG ART & CRAFT BOUTIQUE GALLERY ON THE GARDEN ROUTE. 39 LANGSTRAAT, GREAT BRAKRIVER , 6525 WWW.39LONG.GALLERY/GALLERY

INFIN ART 9 WOLFE ST, CHELSEA, WYNBERG, CAPE TOWN, 7800 021 761 2816 UNTIL 30/05/2019 WWW.INFINART.CO.ZA

UNTIL 26/05/2019

UNTIL 30/05/2019

GRAYSCALE GROUP EXHIBITION FROMM 13 APRIL UNTIL 30/05/2019

ART@AFRICA MAUREEN QUIN UNTIL 31.05.2019

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UNTIL 30/05/2019

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UNTIL 31/05/2019

ECLECTICA ART AND ANTIQUES TERENCE JOHN MCCAW PORTRAIT OF AN ARAB SHEIKH 01/05/2019 UNTIL 30/05/2019

FEATURING: DESRAE CHIMES SAACKS, NINA HOLMES, NATASHA BARNES, BEN COUTOUVIDUS, MARY VISSER, ALBERT COERTSE, UNTIL 31/05/2019

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UNTIL 31/05/2019

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ECLECTICA COLLECTION

ECLECTICA CONTEMPORARY ACETONE VEIL - SUE GREEFF OPENS 04/04/2019 WWW.ECLECTICACONTEMPORARY.CO.ZA

UNTIL 31/05/2019

RED! THE GALLERY

RED! IS A DYNAMIC GALLERY & ART CAFE SHOWCASING THE BEST IN CONTEMPORARY& EMERGING ART! STEENBERG VILLAGE & BREE STREET, UNTIL 31/05/2019

WWW.REDTHEGALLERY.CO.ZA UNTIL 31/05/2019

UNTIL 31/05/2019

STATEOFTHEART MɅN.TɹƏ MÃE | DEBUT SOLO EXHIBITION BY JO ROETS UNTIL 01/06/2019 WWW.STATEOFTHEART-GALLERY.COM

GOODMAN GALLERY CPT ADAM BROOMBERG & OLIVER CHANARIN CHOPPED LIVER PRESS UNTIL 08/06/2019 WWW.GOODMAN-GALLERY.COM

UNTIL 01/06/2019

UNTIL 08/06/2019

SPRINGS ART GALLERY NEW BREED/ CHRIS HANI PHOTOGRAPHY STUDENTS EXHIBITION / UNTIL 29/06/2019 TEL: 011 999 8726/7 UNTIL 08/06/2019

UJ ARTS AND CULTURE POST PRESENT FUTURE EXHIBITION: BY FARIEDA NAZIER HOSTED BY APARTHEID MUSEUM, JOHANNESBURG, UNTIL 29/06/2019 WWW. ARTS.UJ.AC.ZA

UNTIL 08/06/2019

UNTIL 29/06/2019

UNTIL 14/07/2019

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ONGOING SHOWS: MAY-DEC 2019

NORVAL FOUNDATION ON THE MINES: DAVID GOLDBLATT UNTIL 11/08/2019

NORVAL FOUNDATION TRADE WINDS: YINKA SHONIBARE CBE UNTIL 26/08/2019

ART@AFRICA WILLIAM SWEETLOVE UNTIL 25.09.2019

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UNTIL 11/08/2019

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UNTIL 25/09/2019

IZIKO SOUTH AFRICAN NATIONAL GALLERY FILLING IN THE GAPS UNTIL 31/10/2019 WWW.IZIKO.ORG.ZA

PALETTE FINE ART GALLERY OPENING AT CAPE QUARTER SQUARE SHOP 25 UNTIL 30/12/2019 WWW.PALETTESCULPTUREGALLERY.CO.ZA

UNTIL 31/10/2019

UNTIL 30/12/2019

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APRIL 2019 WWW.ARTTIMES.CO.ZA

LIST YOUR EXHIBITION TODAY WWW.ARTTIMES.CO.ZA

The Bus Factory,. 3 Helen Joseph Street, Bus factory, Newtown Cultural Precinct, Johannesburg, South Africa

gallery@artistproofstudio.co.za ArtistProofJHB

Artist Proof Studio

+27 11 492 1278

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OPENING EXHIBITIONS MAY 2019 WEEKS 1-4 Artwork: Nicolaas Maritz, Hill with Red Hot Rocks, 2019, Uct Irma Stern Museum 11/05/2019

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ALICE ART JONEL SCHOLTZ 01/05/2019 UNTIL 30/05/2019 WWW.ALICEART.CO.ZA

NDIZA GALLERY - GORDONâ&#x20AC;&#x2122;S BAY WESTERN CAPE ZERO POLITICO SIMPLY AWESOME ART 01/05/2019 UNTIL 01/06/2019 WWW.NDIZAGALLERY.COM

01/05/2019 UNTIL 30/05/2019 WEEK 1 MAY

01/05/2019 UNTIL 01/06/2019 WEEK 1 MAY

02/05/2019 UNTIL 30/05/2019 WEEK 1 MAY

GALLERY 2 MACHINE IN THE GARDEN BY HEIDI FOURIE, ALLEN LAING AND JACO VAN SCHALKWYK 04/05/2019 UNTIL 25/05/2019 WWW.GALLERY2.CO.ZA

PRETORIA ART MUSEUM JACK LUGG RETROSPECTIVE 07/05/2019 UNTIL 23/06/2019

ART@AFRICA NDABUKO NTULI 09/05/2019 UNTIL 05/06/2019

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04/05/2019 UNTIL 25/05/2019 WEEK 1 MAY

07/05/2019 UNTIL 23/06/2019 WEEK 1 MAY

09/05/2019 UNTIL 05/06/2019 WEEK 1 MAY

THE MELROSE GALLERY CHRISTIAAN DIEDERICKS IN SEARCH OF A NEW KING 09/05/2019 UNTIL 09/06/2019

SALON NINETY ONE CATHY LAYZELL RAVINE 09/05/2019 UNTIL 08/06/2019

UCT IRMA STERN MUSEUM LANDFILL NICOLAAS MARITZ 11/05/2019 UNTIL 01/07/2019

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09/05/2019 UNTIL 09/06/2019 WEEK 1 MAY

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11/05/2019 UNTIL 01/07/2019 WEEK 1 MAY

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CONVERSATIONS WITH XOLILE MTAKATYA ON VIEW UNTIL 24th MAY

THE CAPE GALLERY

Heidi Fourie, At Loose Ends, 45x69cm oil on board, Gallery 2 04/05/2019

LA N D S K I P an exhibition of landscape works by

NICOLAAS MARITZ 11 MAY - 1 JUNE 2019 UCT IRMA STERN MUSEUM CAPE TOWN Cecil Road, Rosebank, Cape Town Tel: 021 685 5686 / Fax: 021 686 7550 http://www.irmasternmuseum.org.za/

OPENING HOURS:

Tuesday- Friday from 10am-5pm Saturday from 10am-2pm Closed public holidays Online catalogue https://sites.google.com/view/nicolaasmaritzgallery Artistâ&#x20AC;&#x2122;s walkabout Saturday 18th May 2019, 11am - 1pm

WWW.ARTGO.CO.ZA OPENING EXHIBITIONS: APRIL 2019 WEEKS 1-4

STANDARD BANK AFRICAN ART COLLECTION 40 YEARS OF COLLECTING 13/05/2019 UNTIL 06/07/2019 WWW.STANDARDBANK.COM/SPONSORSHIP

RUST-EN-VREDE GALLERY MARTIN SWART 14/05/2019 UNTIL 05/06/2019

RUST-EN-VREDE GALLERY PIET MY VROU MOSAIC STUDIO 14/05/2019 UNTIL 05/06/2019

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13/05/2019 UNTIL 06/07/2019 WEEK 1 APRIL

14/05/2019 UNTIL 05/06/2019 WEEK 2 APRIL

STEVENSON CPT IAN GROSE AND JO RACTCLIFFE 16/05/2019 UNTIL 29/07/2019

ART IN THE YARD LIGHT FALLS, A GROUP EXHIBITION 17/05/2019 UNTIL 02/07/2019

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16/05/2019 UNTIL 29/07/2019 WEEK 3 APRIL

17/05/2019 UNTIL 02/07/2019 WEEK 3 APRIL

STANDARD BANK GALLERY

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

TONY GUM AT PHOTO LONDON 2019 16/05/2019 UNTIL 19/05/2019 (W3)

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Art Times Presents

NEW BLOOD FOR A NEW WORLD

www.arttimes.co.za/newblood MAY NEWBLOOD WINNER

Emma Sharratt, Durban Girlsâ&#x20AC;&#x2030; College, Preservation, Drawing- Chalk pastel Well Done Emma! Best, Gabriel Clark-Brown, Editor: SA Art Times E-MAIL YOUR ARTWORK TO NEWBLOOD AND STAND A CHANCE TO WIN R 1000 E-mail your artwork direct to newblood@arttimes.co.za Please include your name, age, grade and school and stand a chance to win R1000 and have your artwork uploaded onto the Newblood website.

W W W. A R T T I M E S . C O . Z A Belgravia Art Centre, Lutho Sikrweqe, Grade 12, Photomontage, Salvation

Springfield Convent, Rose Mitchell, Over and over and over again

St Stithiansâ&#x20AC;&#x2122; Girls, Amber Beresford, Grade 11, Self-Portrait, chalk pastel

Livingstone High School, Laila Kajee, Grade 12, Mind, Body, Soul

Clarendon Girlsâ&#x20AC;&#x2122; HS Meghan Wright, Grade 11, Messenger

W W W. A R T T I M E S . C O . Z A Fairmont High School, Jenna de Abreu, Gr12, Just my pool

A Good Read

CAN ‘ASSASSIN’S CREED’ HELP REBUILD NOTRE DAME?

How Restoring the Cathedral Will Rely on Both New Tech and Ancient Knowhow First published on news.artnet.com BY Naomi Rea, April 18, 2019

After Monday night’s devastating fire at Notre Dame, French President Emmanuel Macron pledged that the marvel of gothic architecture would be rebuilt within five years—and that the restored cathedral would be “even more beautiful than before.” As conservation experts and architects in France and around the world assess the challenge, they are looking to technology, both old and new, to complete the epic task.

Bovey is relieved that the fire, which looked terrible from the images that circulated on Monday, was not as devastating as had initially been feared. “It really is a tribute to medieval engineering and the very intelligent way the fire service fought the flames,” she says, adding that it was good they didn’t “water-bomb” it, as US President Donald Trump suggested on Twitter. (The water could have decimated the structure of the building.)

Before anything else, a detailed survey of the damage must be conducted, explains Alixe Bovey, the head of research at London’s Courtauld Institute of Art and an advisor to the Canterbury Cathedral, one of the oldest and most celebrated gothic structures in the UK. Scaffolding will need to be erected around the entire structure, and it will be important to consolidate the walls, as the heat of flame can weaken the load-bearing capacity of the limestone.

Bovey was, like many experts, shocked to hear Macron’s pledge to complete the reconstruction work by 2024, although she says it is not impossible. “He presumably has a level of information that few people have access to,” she notes. “It’s possible if the only significant building work they need to do is re-roof it.” Nevertheless, she cautions, tasks such as the painstaking conservation of damaged stained glass could take a lot longer than five years to carry out.

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“People like Heather Newton [Canterbury’s head of conservation], the kinds of people who’ve spent their lives caring for ancient churches, are the kinds of voices we need to be listening to rather than political voices that want to set fixed deadlines on things,” Bovey warns. “We need to be careful.” She stresses that while innovative technologies can be a tremendous help, it is important not to get too carried away. “We need to think about what has enabled Notre Dame to survive this long, which is not technologies invented in the past five years that we don’t know will stand the test of time,” she cautions. “We know that a manuscript can last 10,000 years, but we don’t yet know that a digital image can survive 60 years.” Can a Video Game Offer Answers? In the wake of the disaster, there has been

much talk about how digital technologies could aid the reconstruction effort. One unorthodox idea is that models made for the 2014 video game “Assassin’s Creed Unity,” which is set in Paris during the French Revolution, could prove useful to conservationists. The game’s artist Caroline Miousse spent more than a year making a detailed recreation of the cathedral. While this is an attractive proposal, experts are quick to dismiss it. The historian Maxime Durand, who worked on the game, told the Canadian paper La Presse that the designers had taken some “artistic liberties.” Cédric Gachaud, the head of Life3D, the company that modeled the cathedral for the renovation work that was underway at the time of the fire, added to Le Monde that while the gamemakers had done impressive work, a model based on photographs and maps was not accurate enough for the job at hand.

“New technology will be helpful, no doubt—but architects and conservators say the backbone of the project will be supported by much more traditional tools. ” “They are looking for a coherent visual, and if a statue is two meters bigger than in reality, it’s not important for them,” he noted. “As for us, we are looking for millimetric precision, working with engineers and data analysts.”] But there are some high-tech tools that will be useful, experts say. Notre Dame, which welcomes some 12 million visitors a year, is one of the most photographed buildings in the world. Photography, especially high-resolution and drone images, will be vital. These can be used with artificially intelligent algorithms to create accurate maps and 3-D models using photogrammetry. Experts will also be looking to technology used by architects and engineers, such as laser scanners, to offer an even greater level of precision. They are expecting to rely in part on the work of the late American art historian Andrew Tallon, who, before his untimely death in 2018, helped create an impressive 3-D model

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of the cathedral’s interior at Vassar College. To create the highly accurate spatial map, Tallon took detailed scans of the cathedral using 3-D laser scanning technology that offers millimeter precision. He also mapped high-resolution panoramic photographs onto the 3-D form created by the laser. Remember: Old Tech Is Best New technology will be helpful, no doubt—but architects and conservators say the backbone of the project will be supported by much more traditional tools. After all, it was medieval engineering that allowed Notre Dame to stand for 850 years. John David, the master mason at York Minster, a cathedral in the North of England that has also suffered fire damage in the past, emphasizes that those in charge of the Notre Dame’s restoration should look to experts in medieval techniques, such as stonemasonry, carpentry, and stained glass.

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“Whoever is in charge of restoration should not look at speed but should look at care,” he says. A high profile-building like Notre Dame will attract a lot of interest from people wanting to make their name or walk away with a profit, he warns. “These buildings are more important than that and there are opportunities to promote that the work can be done to a high quality,” he says. “It is best done by craftspeople who really care about what they’re doing, and they do exist.” David says the reconstruction efforts present a “wonderful opportunity” for France to train more craftspeople in conservation work and offers the opportunity of a lifetime for students to learn on site. “It is a sad disaster, but also a challenge. The French authorities should take that on board, with considered, balanced, educated, and informed agreements and discussion,” he says. Indeed, crucial mistakes have been made in the past when restorers used new materials without proper testing.

The Courtauld’s Bovey points to the collapse of vaults in Italian churches that were hastened by the addition of concrete reinforcements in the 1960s. In 1997, the frescos in the Basilica of Saint Francis of Assisi were badly damaged when its roof collapsed in an earthquake. One thing British conservation experts stress is the importance of building in preventative measures. “An ounce of prevention is worth a pound of cures,” Bovey says. This includes compartmentalizing the roof spaces and placing firewalls inside so that a fire won’t spread to another area. The number of deep-pocketed donors who have pledged vast sums of money to the cause is striking, Bovey says—“but the tragedy of it really is that it takes a crisis like this for people to recognize the value of this fragile heritage and support it.”

Anton Kannemeyer, Swartberg Pass III Lithograph

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