SOUTH AFRICAN ART TIMES OCTOBER 2011

The South African Art Times: SA’s leading visual arts publication | October 2011 | Free | Read daily news on www.arttimes.co.za

ART TIMES

Nandipha Mntambo Shines at The SA National Gallery FNB Joburg Art Fair 2011 Report back

Photo: John Hodgkiss Photo: Jenny Altschuler

Decorative & Fine Arts Auction Cape Town 18 & 19 October 2011 PUBLIC VIEWING

14-16 October from 10am to 5pm The Great Cellar, Alphen Hotel, Alphen Drive, Constantia FOR AUCTION ENQUIRIES AND CATALOGUES CONTACT

Cape Town office 021 794 6461 ct@stephanwelzandco.co.za Next sale in Johannesburg 15, 16 & 17 November 2011 Johannesburg office 011 880 3125 jhb@stephanwelzandco.co.za www.stephanwelzandco.co.za

HENK SERFONTEIN URBAN TENSION Recent paintings

27 Oct - 25 Nov Galeria Alex Telese, Barcelona, Spain www.alextelese.com www.henkserfontein.com

Integritas, Consonanta e Claritas is how Thomas Aquinas defined the principles of beauty. It can also be interpreted as wholeness, proportion and luminosity.

In this exhibition of sculptures and unique drawings with colour the sculptor explores those central values. Reality is the point of departure for resolute investigation beyond the surface.

An extensive selection from the work of Willem Strydom has been assembled by the Rupert Museum Stellenbosch.

Rupert Museum Stellentia Avenue, Stellenbosch 28 September 2011 to 28 March 2012 Info: 021 888 3344 Mon - Fri 9:30 - 13:00 & 14:00 - 16:00 / Sat 10:00 - 13:00 Closed on public holidays

ART TIMES | EDITORIAL

The South African

EDITORIAL

Art Times October 2011 Daily news at www.arttimes.co.za

Published monthly by

Global Art Information PO Box 15881, Vlaeberg, 8018 Tel. 021 424 7733 Fax. 021 424 7732

Editor: Gabriel Clark-Brown editor@arttimes.co.za Advertising: Eugene Fisher ‘ sales@arttimes.co.za Subscriptions: Tracey Muscat subs@arttimes.co.za News: Jim Wolf news@arttimes.co.za Shows: Tracey Muscat show@arttimes.co.za Admin: Bastienne Klein admin@arttimes.co.za Daily Website: Liesel Botha web@arttimes.co.za Layout: Marvelous

Contributors: Wilhelm van Rensburg Matthew Partridge Matthew Blackman Nuskin Elahi Lloyd Pollak Jenny Altschuler Carl Collinson Marilyn Martin Deadline for news, articles and advertising is the 20th of each month. The Art Times is published in the last week of each month.

Newspaper rights: The newspaper 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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September months art calendar has especially been crammed full of art events ranging from The FNB Joburg Art Fair to art routes and announcements of new art winners from numerous art awards, as well as numerous SA art auctions all happening at the same time.

September is too a time were editors of mainstream papers look around to write about art and the hottest topic around at the moment: art investment and hire the usual writers to: find and replace in their articles (written almost a year ago), merely to find and replace the hottest selling artists with last year’s one. Although this is not actually fare to say this - as there has been recent marked ways to approach Art Investment more as an exact science, such is seen with numerous top dealers as well as people such as Stefan Hundt from SPI who after many years of market experience has an amazing ability to make it all so easy and rational.

A great pivoted happened at the Joburg Art Fair with the landmark speech by Chris Dercon, Director of The Tate Modern who basically said that the Art Fair Concept is coming into the market so rapidly that something like The curated Venice Biennale is a precursor to Art Basel a selling show, that the visual arts were also like a huge sponge that both acted in context and influence of many other creative fields - such as fashion and design, and was not isolated to merely itself. Also in his speech he mentioned that art museums were about people and how one engages with all forms of creativity, and not so much as a museum building that simply

housed objects.Although the FNB JAF 2011 attendance figures were down by roughly 15% (down to about 8500) Ross Douglas mentions that it was the quality, as well as the breakthrough onto an international stage that was this years big growth.

With the FNB JAF being in its fourth year, and with funding for 3 more, it still has to fight for attention on the art world stage with at least 350 other International art fairs out there.

What is too also is encouraging is that Strauss & Co’s Cape Town Sale brought in ZAR 50M for its sale, also breaking the record for the highest painting sold on auction, notably Stern’s 2 Arabs for ZAR 21M. This Cape Town Auction’s prices reflected that the high prices paid for the SA Old Masters are stablised and that the price gains made over the past 2-3 years are holding against the current economic climate.

What might be interesting for a collector to see is that contemporary art relies on a huge amount of cash injection by contemporary dealers to make artists popular, however their selling track record is not guarenteed. However it’s the auction houses that seem to be scoring as collectors are paying for exclusivity and a rarity of quality works by artists that generally have stood the test of time.

Image: Here I am sharing a joke with my favourite person in the SA art world - Esme Berman at The FNB JAF 2011. It was a big thrill to see her and many other of the SA artworlds leading people who, money or no money will always be drawn to the magic, mystery and thrill of art. Photo: Sue Berman

Subscribe to The SA Art Times for just R 280 PA see www.arttimes.co.za for more details SA ART TIMES. October 2011

ONGOING VENICE BIENNALE DEBACLE / NEWS | ART TIMES

Silence from South African art world following Venice Biennale controversy Pavilion commissioner is also a gallerist and two of his artists have been selected to represent the country.

First published in The Art Newspaper

By Matthew Blackman A questionable silence has fallen over the press and much of the South African art world regarding the controversy of South Africa’s participation in the Venice Biennale. The quiet follows highly public and furious exchanges between the Cape Town University professor Malcolm Payne and the Visual Arts Network of South Africa (Vansa), a development agency funded by the National Arts Council.

The controversy arose when the blog Panga Management revealed that gallerist Monna Mokoena and the Lethole Mokoena, listed on the Biennale’s website as South Africa’s commissioner, were one and the same person. Suspicions were aroused by the fact that two of Mokoena’s artists, Lyndi Sales and Mary Sibande, had been selected to represent South Africa alongside Zwelethu Mthethwa—who pulled out over the fiasco—and Siemon Allen. Mthethwa, who withdrew from the Biennale owing to “a lack of transparency”, said that for quite some time he was unaware that Monna Mokoena was the commissioner.

How the Department of Arts and Culture (DAC) selected the commissioner is still shrouded in mystery. In emails that have recently come to light, the department’s chief director of international relations claimed as late as December 2010 that it “could not commit at this stage” to the Biennale and that the department would probably not participate in 2011 because the budget “was under severe strain.”

Both the DAC and Mokoena have, to date, refused to reveal just how South Africa’s participation has been financed.

The DAC is also known to have asked Marilyn Martin, the retired director of the South African National Gallery, as recently as late 2010 for information as to what processes and procedures were undertaken when South Africa previously participated in the Biennale in 1995.

Following the discovery of Mokoena’s identity, he and the DAC have remained evasive when questioned about the circumstances surrounding Mokoena’s appointment. They have refused to deny or confirm that Mokoena is a friend of Paul Mashatile, the arts and culture SA ART TIMES. October 2011

minister. Payne is also known to have written a letter asking the pavilion’s curator, Thembinkosi Goniwe, why all parties concerned remain silent. Goniwe has not responded to date.

Mokoena’s representatives at ChilliBush Communications said that artists Nicholas Hlobo, Marlene Dumas and Robin Rhode were originally contacted to represent South Africa, but all reportedly declined the offer before Goniwe decided on Sales and Sibande. However, Rhode has recently claimed that he was never contacted by anyone concerning the Venice Biennale, while Hlobo said in an email that he would not “be able to help” clarify the matter.

The DAC has defended its decision to allow Mokoena to include artists from his gallery by admitting that the process was rushed. According to emails, the decision to participate in the Biennale seems to have been taken around 13 January this year. Mokoena’s appointment was made public when the Biennale announced South Africa’s participation in mid-March.

When questioned as to how the selection process took place, the DAC stated that it was only “supporting an existing initiative that was well advanced in terms of its planning”. It has stood by the claim that this “private initiative” was the best way to represent South Africa given the limited time between being made aware of its participation in the Biennale and the opening on 4 June.

Since Payne’s exchanges with Vansa, the arts community has done little to figure out what happened. Vansa made it clear in a public statement that it had little interest in looking into the current situation, saying instead it is “substantially more concerned with the ways these decisions and investments will be made in the future”. This is despite their constitution stating that they are bound “to promote transparency, accountability and sound financial and organisational management within the arts and culture sector”. In an open discussion with several members of Vansa’s board, one of the authors of the organisation’s statement said that he was more interested in working in a private capacity with both the DAC and Mokoena than in pursuing the question of corruption.

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ART TIMES | NEWS / AROUND THE FNB JOBURG ART FAIR 2011

Sanel Aggenbach’s latest work: The Crown and Anchor as seen at Joao Ferreira’s stand at The Joburg Art Fair 2011

Above: Diane Victor gives a walkabout on her latest work at David Krut Projects Below : The Alpha Romeo Art Talks at The Joburg Art Fair prove popular, this talk was by the Chris Deacon, The Director of Tate Modern, London

Please send us your news to: news@arttimes.co.za

EBONY Franschhoek is proud to co-host the inaugural ‘Franschhoek Art in Clay’ Festival during the month of October 2011 Artists whose work can be seen at EBONY include Katherine Glenday, Clementina van der Walt, Hennie Meyer, Mick Haigh, Lisa Ringwood, Liesel Trautman, Kendal Warren, Laurie Wiid Van Heerden and many more.

Exhibition opens 1st October 2011 at 4pm and runs until 31st October 2011 EBONY, 4 Franschhoek Square, Huguenot Street, Franschhoek EBONY, 67 Loop Street, Cape Town www.ebonydesign.co.za (021) 876 4477

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SA ART TIMES. October 2011

LINDA STUPART / NEWS | ART TIMES

Linda Stupart to Phd at Goldsmiths Photo and text: Jenny Altschuler Linda Stupart delivered her farewell talk at Michaelis School of Art Last week, on her own practices of art production. One of very few South Africans to have been accepted to the prestigious Art University of Goldsmiths in London, Stupart concedes that competition is very stiff for the PHD posts which demand an in depth research proposal, a comprehensive portfolio and accredited references for applications. Goldsmiths boasts graduates who have shot to global celebrity status soon after their studies. Among these are the Young British Artists, Tracey Emin, Yinke Shonibare, Damien Hirst, Gillian Wearing and Sarah Lucas, backed by Charles Saatchi’s company.

South Africans Mandy-Lee Jandrell, Frances Goodman and Colin Richards are among the South Africans who have completed post graduate programmes at Goldsmith’s. Stupart is an excellent writer and conceptual thinker with the ability to laugh at herself, taking that seriously. She completed her Masters of Fine Art at Michaelis in 2009 with a body of work titled I Love you to Death. Her titles are always quirky, sexy and conceptuSA ART TIMES. October 2011

ally clever. Drawn from the lyrics of current pop songs, Stupart appreciates the strong connection between all genres of production, ‘high’ and ‘low’ art. None are more valid the other, as an expression of self. Her work is about herself and she lives her work, artistically ‘voicing’ her struggle as a heterosexual sensual entity with desires and handicaps that are common experiences and yet highly individual. It is this self-conscious, yet voluptuously generous spirit of sharing and baring her processes of living and loving, that has gained her a place at Goldsmiths.

She claims that the fees are exorbitantly expensive but heaves a sigh of relief in gratitude that she has been lucky enough to be awarded a research bursary from Goldsmiths as well as an award from the Oppenheimer foundation making her study possible. It will be most interesting and exciting to follow this highly innovative artist over the next 2 years. Good luck to Linda in her new journey into the 1st hand experience of the global art scene.

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ART TIMES | NEWS /

(Above) Work by Angus Taylor at Saronsberg Wine Estate (below) Art festival goers were treated to a blaze of life and colour in the streets of Tulbagh

the loop art foundry

t 27(0)13 7582409 f 27(0)11 5075747 theloop@worldonline.co.za www.theloopartfoundry.co.za & www.thelooponline.co.za

striving in our passion towards excellence

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SA ART TIMES. October 2011

TULBAGH SPRING ARTS FESTIVAL / NEWS | ART TIMES

Tulbagh Spring Arts Fest 2011

Carl Collison “Art and music are two of my great passions and I really wanted to get something going in the town for this time of year which, it truth be told, is generally a bit slow,” says Jason Clark, whose brainchild the Tulbagh Spring Arts Festival is.

Although the town, nestled in the Western Cape’s jaw-droppingly scenic Boland district, has in the past held arts festivals, the focus, says Clarke, “was mainly on painting so I wanted to put something together that was a bit more inclusive.” To achieve this the 38-year-old owner and manager of the town’s Cape Dutch Quarters convinced thirty-four venues in and around the town to participate in the event by playing host to events that ranged from musical performances and exhibitions to wine and chocolate tastings (the jury is still out though on why “the age old art of milking cows” needed to be included in the programme). For Clark, however, “the idea was to allow the venues to decide what kind of event they would like to play host to and have them source the artists for it. This made it less about me and my likes and allowed for a bit of freedom.”

As commendable as this may be, the event could have been better served by a deft curatorial hand. This was particularly evident by the array of works on offer at some of the venues on the picturesque Church Street - where the beauty of the architecture often surpassed the aesthetic mediocrity of the work, which, try as it might, seldom came across as anything other than Afrikaaner curio. The puerile ethnographic condescension inherent in the work of 29 Church Restaurant owner, Annie De Posson, for example, made me recall what JM Coetzee described in his White Writing: On the Culture of Letters in South Africa, as the “historical insecurity regarding the place of the artist of European heritage in the African landscape ... an insecurity not without cause.”

Where the festival did succeed was with its Honouring Tulbagh Masters SA ART TIMES. October 2011

programme. Through this, the abstract paintings of Christo Coetzee and the beguiling brilliance of Vasek Matousek’s sculptures were given the same kudos as Jan Du Toit’s haunting and contemplative oil paintings. The newly restored Christo Coetzee gallery not only has on display the largest selection of works by this erstwhile artworld enfant terrible, but also pays homage to the late artist by providing insight - through photographs and filmed footage - into the man who famously cut his paintings to threads after a 1975 exhibition opening.

A major festival coup however was securing the Saronsberg Wine Estate, with its impressive collection, as one its participating venues. Not only is this relatively young estate nestled in a particularly idyllic setting, but it also boasts owner Nick Van Huysteen’s outstanding private collection of South African art. Although featuring the works of, among others, Eduardo Villa, Sydney Khumalo, Norman Catherine and Nandipha Mntambo, it is the work of Angus Taylor that features most prominently. According to the Saronsberg marketing manager, Mandy Dewing, the estate had, in 2003 commissioned the sculptor to produce the Uit Klip Uit Water sculpture which now overlooks the estate. As a result of the festival, the working relationship between Taylor and the estate looks set to continue as, according to Dewing, “Taylor and his wife [artist Rina Stutzer] are currently working on a proposal for next year’s festival.”

Next year’s festival is also what’s currently on Clark’s mind. “We’re about to have a debriefing session to look at where we succeeded and where we could improve,” he says. “Although we were disappointed with the sales of art, there was a great turnout and certainly a lot of networking as quite a few of the artists on show were commissioned to do other work.” When I put it to him that that the participation of Tulbagh’s less affluent communities was noticeable in its absence, Clark pauses before saying: “Look, we did get some of the local choirs to perform, but we will definitely work harder at getting greater broader community involvement next year. Still, something like an art festival will always have a more elitist focus which we can’t deny.”

What also cannot be denied is that - its faults aside – were this festival to employ more stringent selection criteria and secure buy-in from artists as well as the broader community it has the potential to become a truly charming and new addition to the South African arts calendar.

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Peter (Mohau) Modisakeng Nicole Weatherby - Less is more Chiazzari, Anva May : Surrogate Sikhumbuzo Nation Makandula Battson, Liberty Charlotte Bits and pieces 6. Claire Elisabeth Jorgensen - Seedlings 7. Naidoo, Sayuri Timeless keys 8. Shaw, Alison Jean Anumie-a-Ammu 9. Pete, Malose Phineas Going home!

10. Bertish, Conn Robert, Secret club

SASOL NEW SIGNATURES 2011 AWARD / NEWS | ART TIMES

Sasol New Signatures 2011 Award winners

Top 1, Below 2

Soweto-born Mohau Modisakeng emerged victorious at the 2011 Sasol New Signatures Competition, culminating in an evening filled with excitement at the Pretoria Art Museum. In recognizing the value and beauty of art in South Africa, the competition is in its 50th year.

Modisakeng’s artwork titled, ‘Qhatha’ depicted spirituality and was ritualistic in its approach, winning the 25-year-old a grand prize of R60 000 and a solo exhibition next year at the Pretoria Art Museum. His work deals with identity and inner conflict that plays out in a set of eclectic and appropriated images.

The judges described his artwork as one that unites the artist’s persona charging the work with a bold and sensual identity drawing the viewer into the space.

The runner up was Sikhumbuzo Nation Makandula, who walks away with a cash prize of R15 000. His piece is praised as an example of how resourceful one can be with a video camera, orange bags and a rainstorm. The artist’s piece is complex yet simple.

There were five Merit Award winners for the evening, Claire Jorgensen, Semona Turvey, Kristie van Zyl, Rivon Marlen Viljoen and Nicole Weatherby who walk away with R1000 each.

The national competition, sponsored by Sasol for the last 21 years, is presented annually with the Association of Arts Pretoria and is aimed at new, innovative and emerging young artists, 18 and older.

With nearly 600 entries into this year’s competition, the regional committees have selected a total of 82 art works for exhibition at the Pretoria Art Museum.

South Africa’s freshest talent is unearthed through this competition and it is a platform for up and coming artists to launch their careers while being awarded for excellence, originality and perceptiveness.

The competition is the longest running

national art competition South Africa has ever seen. Information sessions were held throughout the country with the aim of teaching emerging artists how to evaluate, appreciate and advance in the industry.

“The 73 finalists for the 2011 Sasol New Signatures are worthy of their selection.

It has been interesting to notice a return to more traditional media and art-making processes with experimentation being the order of the day. There has been considerable attention paid to presentation with the general message hitting home that this competition focuses on the controversial, contemporary and cutting edge. A good balance remains between all media however, new and traditional. It is encouraging to see artists stepping up to the plate,” says Peter Binsbergen, National Chairperson of the Sasol New Signatures selection panels.

According to Sasol Sponsorship Manager, Richard Hughes, the art competition is an important event on Sasol’s arts calendar and underpins the company’s commitment and support of visual arts in South Africa.

According to Pieter van Heerden, Director at the Association of Arts Pretoria, the Sasol New Signatures Competition creates an immense value in discovering and encouraging artistic talent.

“The competition is major promoter of artistic empowerment with the successes of previous award winners and participants as shining examples. The competition has created a national awareness, being a corporate social commitment that invigorates communities and contributes to the ideal of nation-building,” adds Van Heerden.

The Sasol New Signatures exhibition will be open to public from Thursday, 1 September 2011 to Sunday, 2 October 2011. For more information, contact the Association of Arts Pretoria on 012 - 346 3100.

See all the Sasol Finalist’s works on our website and facebook profile

Art Exhibition : Opening 2 October at 18:00 until 22 October Alette Wessels Kunskamer Maroelana Centre, 27 Maroelana Street, Maroelana, Pretoria GPS S25º 46.748’ EO28º 1.5615’ OPEN Mon to Fri 09h00 - 16h00 Saturday 09h00 - 13h00

Alexander Rose-Innes Woman with red shawl Oil on canvas, 67 x 51 cm

SA ART TIMES. October 2011

Tel (+27) 12 346-0728 / Fax (+27) 12 346-0729 alette@artwessels.co.za gerrie@artwessels.co.za Alette 082 652 6663

Gerrie 084 589 0711

A quality selection of SA masters and selected contemporary art

www.artwessels.co.za

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ART TIMES | NEWS / 40 YEARS OF THE AVA GALLERY, CAPE TOWN

40 Years of the Association of Visual Arts, Cape Town 1970–1990: A Legacy

Marilyn Martin Herman van Nazareth was the first artist to show at 35 Church Street in 1970, when the South African Association of Arts, Western Cape Region (SAAAWC) occupied their new space.

During the period under review, hundreds of artists exhibited there and as curator of the exhibition, working closely with the director, Kirsty Cockerill, I had to make choices: The core of the exhibition comprises works by 21 artists who showed there three times or more. In addition there are works by artists who have in one way or another made their mark on the South African art scene during the two decades. Estelle Jacobs and Melvyn Minnaar, who have played important roles in this history and have contributed substantially to the advancement of the visual arts, have acted in an advisory capacity.

As far as possible, works from the period were selected, thereby providing trips down memory lane for many visitors, as well as an historical overview, and reminder, of individual artists’ production and the styles, ideas and techniques that prevailed at the time. Relevant clips from TV and other sources further enhance the experience. With a few exceptions, all art works are for sale.

From our perspective in 2011 – dominated by video, installation and photo-based art – it is quite extraordinary to have an exhibition that consists largely of paintings. It shows how painterly abstraction gained ground in South Africa in the hands of artists like Bettie-Cilliers Barnard, Christo Coetzee, Paul du Toit, Renée le Roux, Patricia Pierce-Atkinson, Douglas Portway, Larry Scully and Joe Wolpe, while Kevin Atkinson’s forcefully gestural Looking back belongs in the ambit of Abstract Expressionism.

A surrealistic impulse characterises works by Hardy Botha, Claude Boucherain, Fred Page, Michael Pettit and Jan Vermeiren, with Pettit’s Midnight Tango 1985 reflecting the anxieties and tensions prevalent in apartheid South Africa. Land- and townscapes feature strongly in the paintings of Tyrone Appollis, David Kramer, Erik Laubscher and Alice Goldin, and in photographs

by Geoff Grundlingh and Paul Alberts. Still life is in a minority (Olivia Scholnick’s dark, potent moon flowers compensating for this); portraiture and the human figure have a presence through the work of Neville Dubow, Gail Catlin, Frans Claerhout, Leon de Bliquy, Garth Erasmus, Sheila Nowers, Francine Scialom14

Greenblatt and Marjorie Wallace.

Printmaking as a medium comes into its own, ranging from Azaria Mbatha’s linocut to Vermeiren’s and De Bliquy’s etchings. In 1989 Malcolm Payne and Pippa Skotnes established the Axeage Private Press, a print workshop publishing fine prints and collaborative hand-made books; the first was Skotnes’ book Sound from the thinking-strings. A year later they had a show at the Association with Alma Vorster.

A mixed media work by Louis Jansen van Vuuren and Sam Nhlengethwa (1999) points to the many collaborative projects on which these two artists embarked, as well as the presence of Africa on the exhibition. Stanley Pinker’s Hyperboreans transports the mythical people, who lived far to the north in Greece – in a land of eternal sunshine – to Ethiopia.

But it is really in the sculpture that we discover the continent.

June te Water’s African Spirit of 1986, carved in Jarrah wood, was conceived from a windswept monolithic rock formation rising vertically out of the horizontal landscape of the Namibian desert. Known as the ‘Finger of God’ it eroded over time and collapsed in the early 1990s.

The stylised mask-like bronze, Archetypal Ancestor, by Bruce Arnott is contradicted by the organic protrusions from the head, which can be interpreted as plants, bones or distorted figures.

Herman van Nazareth’s enigmatic bronze Bust lends an eerie presence to the exhibition.

On a lighter note, there are witty and beguiling glazed ceramic sculptures by Hylton Nel (24/1609 “Bather”) and John Nowers (Tom Dick and Harry), while Hyme Rabinowitz is represented by an exquisite porcelain Bowl.

The pages of South African Arts Calendar and the Association’s archive reveal the extensive initiatives and programmes that emanated from 35 Church Street. Yet there was an acute awareness of the limited membership and reach of the SAAAWC. In the 1982 report (Kalender/Calendar, April/May 1983), when Melvyn Minnaar was chairperson, the frustration to create meaningful links with groups outside the “white-gallery” syndrome was unambiguously expressed. This situation finds an echo in ‘1970-1990: A Legacy’. Although Azaria Mbatha and Gladys Mgudlandlu exhibited at the Association in 1970 and 1971 respectively, there were many years when not a single black artist had a presence, except in the odd group show.

Michael de Combes brought historical African art to the Association (unfortunately objects from his collection were not available for display).

The SAAAWC made every effort to counteract elitism and isolation, and it was politically neither neutral nor silent. Correspondence tells of the time and energy that went into opposing the new South African Constitution with its tri-cameral parliament and the concomitant division of the arts and museums into Own and General Affairs. A public meeting ‘Unity in Art/Eenheid in Kuns’ was held in June 1983 with panellists Neville Dubow, Jan Rabie, Cecil Skotnes and Madeleine van Biljon. The Western Cape was more often than not at loggerheads with the mother body in Pretoria, but its resistance to the apartheid regime was determined and vocal.

All this seems like such a long time ago, but it serves as a reminder of the role that organs of civil society can and must play to safeguard democracy and the arts.

SA ART TIMES. October 2011

(Left) P.M.Pierce Atkinson: From the “Wounded Landscape” series 1988 (Top left) Francine Scialom-Greenblatt: “Untitled”, Oil on canvas (Top right) Fred Page: “Untitled” (Joko Tea) Gouache on paper 1975 (Middle left) Michael Pettit : “Midnight tango” 1985 1986 - 1986 oil on canvas,

(Middle right) Hardy Botha: “Cosmic vlooi en kind” 1973 (Bottom left) Bruce Arnott: Archetypal Ancestor, 1977 (Bottom middle) Hylton Nel: 24/1609 “Bather” 1989, Glazed ceramic (Bottom right) Christo Coetzee: Baroque Disc and line that love

ART TIMES | NEWS / ART B’S VULEKA 2011 WINNERS

Geo Westraadt, Susan Roux (merit award winner), Lunga Kama (merit award winner), Nina Liebenberg (merit award winner), Antonia Steyn (Overall winner).

Body of work by overall winner: Antonia Steyn. (Bottom row) Heidi Erdmann and Antonia Steyn. Lunga Kama and Nina Liebenberg

Art B’s Vuleka 2011 Art Competition Winners The winners of the Art B Gallery, Bellville. Annual Vuleka Art Competition were announced at the opening of the Vuleka Exhibition.

The 2011 Vuleka Art Competition would not have been possible without the assistance of generous sponsors, whose commitment to the visual arts guarantees the continuation of such an excellent art competition.

Vuleka (the Xhosa word for ‘open’) is hosted annually by The Arts Association of Bellville. The competition is open to artists 18 years and older who have not had a solo exhibition during the preceding three years. This year, the prestigious national competition has drawn over 200 entries from across South Africa. While most of the entries were drawn from the Cape Metropole and Boland towns, some travelled from as far as Pretoria, Ceres and the Free State. A selection of 41 works is currently on exhibition in the Art.b Gallery in Bellville’s library complex (Carel van Aswegen Street, Bellville).

Susan Kruger-Grundlingh, Andrew Lamprecht and Victor Honey served as adjudicators for the competition.

The judges selected Antonia Steyn’s photographic series, titled Styen and De Villers, as the best overall work. She was awarded the R20 000.00 cash Conrad Theys Prize for the best overall work.

Steyn says this of her work: In October 2007 my surname changed. It marks the beginning of this journey. Steyn was my maiden name at birth. By marriage it became De Villiers. This is a circular journey, starting in the Western Cape where I currently live and meandering down to the Free State where my most recent ancestors are buried, and where I was born and

raised. I visited six graveyards and recreated these historical spaces for myself. In these spaces, I photographed people representative of each place.

Three additional merit prizes were awarded. Each merit prize winner receives R3000.00 cash sponsored by Omnicron and Art.b Gallery as well as a year’s subscription to Art South Africa sponsored by Suzette Bell Roberts. The recipients of the merit awards are as follows:Susan Roux for her sculpture, Daaglikse Broodt, made from plastic bread ties Lunga Kama for his photograph entitled Ubuntu libhongo lam Nina Liebenberg for her sculpture made of fish bones and glass, titled The Orchid Nikita Campbell, the gallery co-ordinator at Art.b is pleased at the number of entries received and the high standard of current works on show, indicating that the Vuleka Art Competition has become nationally recognised as a respected platform for both emerging and established artists.

The works received this year are representative of a broad spectrum of cultures and mediums from the traditional to the innovative and conceptual. The 41 works selected for the exhibition are reflective of divergent styles, techniques and media. Works indicating an original concept, strong, individual expression and excellent technical execution were considered for the exhibition.

The Vuleka Art Competition is currently ranked third in stature and prestige in national competitions, after the Sasol New Signitures and the Absa L’Atelier.

This exhibition runs until 30 September 2011.

The Art.b gallery is situated in Bellville Library Centre, Carel van Aswegen Street and is open Mondays to Thursdays 09.00 to 20.00, Fridays 09.00 to 18.00 and Saturdays 09.00 to 13.00.

See all the Art B Vuleka Finalist’s works on our website and facebook profile 16

SA ART TIMES. October 2011

The Whitehouse Gallery WE WILL BE EXHIBITING AT THE SOUTH AFRICAN ANTIQUE DEALERS FAIR OCTOBER 28 2011 TO OCTOBER 30 2011

JIM DINE—DOUBLE VENUS WOODCUT II, 1985

ANDY WARHOL—MICK JAGGER 1975

JOAN MIRO—LIBERTE DES LIBERTES 1971

JEAN JANSEM—NU DE DOS TABOURET 1993

11 THRUPPS ILLOVO CENTRE, Oxford Road ILLOVO P.O. Box 496, Melrose Arch 2076 Tel : 27 11 268-2115 ¹ Fax : 27 11 268-2129 WEBSITE : www.thewhitehousegallery.co.za EMAIL : alan@whg.co.za : melanie@whg.co.za

SOUTH AFRICAN

GALLERY GUIDE Conrad Botes: Origin (Detail) Acrylic on canvas 2011 at Stevenson Gallery

Tommy Motswai new lithographs

Blue Bulls Welcome to Soweto, hand-printed lithograph, 56 x 76 cm. Edition 30.

The Artists’ Press

Box 1236, White River, 1240 7HO 013 751 3225 PDUN#DUWLVWVSUHVV FR ]D ZZZ DUWSULQWVD FRP

Art Times Tommy Sept 2011 advert.indd 1

Windmill Centre Main Street, Clarens Tel/Fax: 058 256 1620

E-mail: manager@bhm.dorea.co.za

* Glass * Bronze * Ceramics * Old Masters * Contemporary *

Johan Smith

UNISA

Space Art Gallery

Elbe Van Rooyen

www.johansmith.co.za Windmill Centre Main Street, Clarens Tel/Fax: 058 256 1757 E-mail: manager@bloudonki.co.za

* Contemporary Art * Steel Sculptures * Handmade Glass * * Functional Art * Photography * Ceramics *

Anton Gericke

Hanlie Kotze

www.bloudonki.co.za

UNISA Main Campus, Kgorong Building, Ground Floor, Preller Street, Pretoria, 0003 Email: ukun1@unisa.ac.za, Tel: (012) 441-5683

19/09/2011 12:20 PM

FREE STATE, GAUTENG, MPUMALANGA | GALLERY GUIDE

Free State

Gauteng

Bloemfontein

Johannesburg

Oliewenhuis Art Museum 13 October – 30 October, Hanneke Benade: Reservoir. The well-known artist Hanneke Benade will exhibit a body of recent works specifically created for the Reservoir at Oliewenhuis Art Museum.

Until 30 October, “The White Monday Disaster” (Main Building) A series of exquisite woodcut prints created by Cecil Skotnes.

Until 9 October, “Freshford House Museum Photographic competition and exhibition” Free State Heritage in Pictures (Reservoir) Until 6 November, “Zak Benjamin: Retrospective” (Main Building) 16 Harry Smith Str, Bloemfontein.

T.051 447 9609 karen.marais@nasmus.co.za www.nasmus.co.za

Alice Art Upcoming exhibitions: 8&9 October Giorgio Trobec, 15&16 October Bert van Wyk, 22&23 October Simon Addy, 29 & 30 October Frans Groenewald.

217 Drive Str, Ruimsig.

T. 083 331 8466/ 083 377 1470 aliceart@global.co.za www.aliceart.co.za

Clarens Art & Wine Gallery on Main The Gallery houses an exquisite collection of art by well-known artists like Gregoire Boonzaier, J.H. Pierneef, Pieter van der Westhuizen, Erik Laubscher, Jan Vermeiren, Marjorie Wallace, Eben van der Merwe, Conrad Theys, Hennie Niemann, Hannetjie de Clercq, ceramics

by Laura Du Toit, sculpture by Fana Malherbe & Jean Doyle, glass by David Reade & Shirley Cloete and numerous others.

279 Main Str, Clarens T. 058 256 1298 or Anton Grobbelaar. C. 082 341 8161 anton@artandwine.co.za www.artandwine.co.za Blou Donki Art Gallery A vibrant contemporary art gallery, housing a wide variety of contemporary artworks, functional art, steel sculptures, bronzes, handmade glass and specializing in photography.

Windmill Centre, Main Str, Clarens T. 058 256 1757 manager@bloudonki.co.za www.bloudonki.co.za Johan Smith Art Gallery The gallery permanently exhibits a wide variety of classical and selected contemporary art works featuring Johan Smith, Elbè van Rooyen, Elga Rabe, Graham Carter, Nicole Pletts, Gregoire Boonzaier, Otto Klar, and various others. Specializing in ceramics, the gallery supports artists such as Hennie Meyer, Karen Sinovich, and Heather Mills, among others.

Collectable bronzes, and handmade glass by David Reade, also available.

Windmill Centre, Main Str, Clarens T. 058 256 1620 manager@bhm.dorea.co.za www.johansmith.co.za

Send your event listings to: Tracey at subs@arttimes.co.za

SA ART TIMES. October 2011

Art Afrique Art Afrique specialises in fine collectable African art by a wide variety of southern African artists.

Shop no. U45, Legacy Mall, Cnr Maude & 5th Streets, Sandton T. 011 292 7113 art@artafrique.co.za www.artafrique.co.za Christie’s International Auctioneers.

Gillian Scott Berning, Independent Consultant.

T 031 207 8247 Gillian.gsb@mweb.co.za www.christies.com CIRCA on Jellicoe Until 31 October, “Horse: Multiple Views of a Singular Beast” An Exhibition of works by 60 artists curated by Ricky Burnett 2 Jellicoe Ave. T. 011 788 4805 gallery@circaonjellicoe.co.za www.circaonjellicoe.co.za David Brown Fine Art Until 3 October, “Works on Paper” by Artist Proof Studio & Blue Door Studio.

Old Sandton Gallery, next to Sandton Library, Nelson Mandela Square.

C. 082 777 7373 david@dbfineart.co.za www.davidbrownfineart.co.za David Krut Projects Until 23 October, “Countermeasures” by Mary Wafer.

140 Jan Smuts Ave., Parkwood, Jhb. T. 011 447 0627 taryn@davidkrut.com www.davidkrutpublishing.com Everard Read Jhb Until 31 October, “Horse: Multiple Views of a Singular Beast” An Exhibition of works by 60 artists curated by Ricky Burnett 6 Jellicoe Ave, Rosebank, Jhb. T. 011 788-4805 gallery@everard.co.za www.everard-read.co.za Gallery AOP 8 - 29 October, “Reading Room” drawings and prints by Jonah Sack.

44 Stanley Ave, Braamfontein Werf (Milpark) T. 011 726 2234 info@artonpaper.co.za www.artonpaper.co.za Gallery MOMO Until 17 October, “Shake Your Monkey” a solo exhibition of paintings by Ransome Stanley.

20 October - 14 November, “A Means to an End” Photography by Patricia Driscoll.

52 7th Avenue, Parktown North, Jhb. T. 011 327 3247 info@gallerymomo.com www.gallerymomo.com

The Gerald A Lee Gallery cc For Genuine African Art Contact Jason - 0828514783 By private viewing in Johannesburg.

Or at the Waterfront in Cape Town Goodman Gallery Projects Until 9 October, “Basic Reality” and 13-23 October, ‘Skopo” by the Cuss Collective.

Arts on Main, 264 Fox Str, Jhb. T. 087 830 0880 projectspace@goodman-gallery.com www.goodman-gallery.com Grahams Fine Art Gallery The gallery houses one of the finest collections of art in South Africa, their focus is on absolute quality and are proud to offer an extensive selection of works for sale.

Unit 46, Broadacres Lifestyle Centre, Cnr Cedar & Valley Rds, Broadacres, Fourways, Jhb. T. 011 465 9192 sarah@grahamsgallery.co.za www.grahamsgallery.co.za 16 Halifax Works by Michael Heyns, Leon Muller & Mimi van der Merwe can be viewed by appointment in Johannesburg at 16 Halifax Str, Bryanston.

Dana MacFarlane 082 784 6695 bdmac@mweb.co.za www.16halifaxart.co.za In Toto Until 7 October, “POW: Perfect Heroes, Noble Causes and other Half Truths” by Bruce Donald.

Opening 13 October at 6pm, Julia Cavalieri’s “Face of Africa” until the 17 October.

Opening 27 October at 6pm, Helen Joseph and Jenny Stadler’s “TWO” until 15 November.

6 Birdhaven Centre, 66 St Andrew Str, Birdhaven. T. 011 447 6543 megan@intotogallery.co.za www.intotogallery.co.za Isis Gallery Featuring Modern African Contemporary Art and Ceramics by leading Artists: Junior Fungai, Derric van Rensburg, Errol Westoll, Brian Rolfe, Ulrich Schwanecke and Hynes Matshoba.

Works can be viewed by appointment.

Shop 163, The Mall of Rosebank. Contact Daniel Erasmus T. 011 447 2317 info@isisgallery.co.za www.isisgallery.co.za Johannesburg Art Gallery Until 30 October, an exhibition of selected work of the top artists from a 3 year art programme based in rural northern KZN. Artists exhibiting: Lucky Jambi, Nhlanhla Mabaso, Nokuthula Gumede & Muzi Nomandla to name a few…

Until 15 January, “maNyauza: Silent Messages to my Mother” by Mbongeni Buthelezi.

Until 29 January, “Pinky Promise” by Pierre Croquet de Rosemond.

King George Str, Joubert Park, Jhb. T. 011 725 3130 tinym@joburg.org.za www.joburg.org.za Manor Gallery 29 September – 23 October, The 86th National Open Exhibition of the Watercolour Society of South Africa (WSSA). A wide variety of techniques are used in this very versatile medium, creating paintings in a vast array of sizes, subjects and styles.

Manor Gallery, Home of the Watercolour Society of South Africa. Norscot Manor Centre, Penguin Drive, Fourways. T. 011 465 7934 gallery@wssa.org.za www.wssa.org.za

21

GALLERY GUIDE | GAUTENG Sophiatown Until 30 October, “Celebrating the Spirit of Sophiatown” a photographic exhibition of iconic black & white images that captured ordinary life in Sophiatown – historically known as the little ‘Paris’ of South Africa.

Xuma House, 73 Toby Street (Corner Edward Rd), Sophiatown. Tel: 011 673 1271 Cell: 072 414 7724 thmcentre@mweb.co.za Standard Bank Gallery 26 October to 3 December, “End Game”

by Michael MacGarry, Standard Bank Young Artist 2010. Cnr of Simmonds & Frederick Str.’s, T. 011 631 1889 sue.isaac@standardbank.co.za www.standardbankarts.co.za Stephan Welz & Company Auctioneers of Decorative & Fine Arts.

13 Biermann Avenue, Rosebank, Johannesburg. T. 011 880-3125 jhb@stephanwelzandco.co.za www.stephanwelzandco.co.za Stevenson Johannesburg Until 21 October, “Representation” a solo exhibition by Simon Gush.

62 Juta Street, Braamfontein, Jhb. T. 011 326 0034 hb@stevenson.info www.stevenson.info Strauss & Co. Fine Art Auctioneers & Consultants.

Country Club Johannesburg, Corner Lincoln Rd & Woodlands Drive, Woodmead.

T. 079 407 5140 jhb@straussart.co.za www.straussart.co.za

Upstairs @ Bamboo 6 - 9 October, Terry Kobus is exhibiting his latest solo art show entitled “Squared.”

Following on with themes from his previous shows, including his much loved Nguni Cattle and indigenous livestock, Kobus now investigates the square format in various sizes from miniature jewel like works to larger pieces.

The exhibition runs for four days only and the opening reception is at 18h00 Thursday 6 October. Kobus will be available daily during the show to discuss his inspiration, vision, style.

53 Rustenburg Road, Melville, Johannesburg.

Terry Kobus 083 259 8859 tkobus@iafrica.com www.spinman.co.za The White House Gallery The gallery has a wide ranging portfolio featuring renowned masters such as Chagall, Marini, Miro, Moore, Portway, Pasmore, Stella, Picasso, Dine & Hockney - to name a few. Also the more affordable works of up and coming artists in Britain and France, along with globally acclaimed South African artists.

Shop G11 Thrupps Centre,Oxford Road, Illovo,Johannesburg. T. 011 268 2115 alan@whg.co.za www.thewhitehousegallery.co.za

Pretoria Alette Wessels Kunskamer The Alette Wessels Kunskamer operates as an Art Gallery and Art Consultancy, specialising in South African art as an investment, dealing in Old Masters, and selected contemporary art.

Maroelana Centre, 27 Maroelana Str,

Maroelana, Pretoria. T. 012 346 0728 alette@artwessels.co.za www.artwessels.co.za Alliance Francaise Pretoria Opening on the 6th of October @ 19h00, “From Paris to Pretoria” by Bijou Moynot-Choffel 99 River Street(c/o de Kock & River), Sunnyside T. 012 343 6563 labij@mweb.co.za info.pretoria@alliance.org.za Association of Arts Pretoria 30 September to 22 October, “Ocean Haikus“ an exhibition of paintings by Martie Strydom 7 October to 22 October,”Spirit of Movement” an exhibition of paintings by Stefan Rossouw.

21 October to 9 November, “Opera”an exhibition of etchings by Marinus Wiechers.

173 Mackie Str, Nieuw Muckleneuk, Pretoria.

T. 012 346 3100 artspta@mweb.co.za www.artsassociationpta.co.za Centurion Art Gallery Opening 4 October at 18:30 for 19:00, Watercolour Society of SA, Centurion Branch exhibition, closes on 15 October.

On Saturday, 15 October, from 9:00 to 14:00, members will give free watercolour demonstrations and information on the activities of the society. c/o Cantonment and Unie Avenues, Lyttelton T. 012 358 3477 artg@tshwane.gov.za www.pretoriaartmuseum.co.za/centurion

LETTIE GARDINER People on the Edge An exhibiƟon of painƟngs 25th September - 29th October 2011 Panel discussion on 16th October facilitated by Douglas Irvine ParƟcipants: David Koloane, Joyce Ozynski and Fiona Lloyd.

Gallery hours | 10:30 am - 17:00pm | Tues to Sat The Thompson Gallery | 78 3rd Avenue | Melville | JHB | 011 482 2039 | 011 482 9719 www.thompsongallery.co.za | info@thompsongallery.co.za

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SA ART TIMES. October 2011

GAUTENG, MPUMALANGA, KWA ZULU -NATAL | GALLERY GUIDE Fried Contemporary Opening Saturday 15 October at 18h30, “Connections” until 12 November.

The participating artists in the exhibition are: David Udbjorg (whose connection is with Denmark), Pascual Tarazona (who has Spanish connections) and Lynette ten Krooden (whose connection is with Dubai).

430 Charles St, Brooklyn, Pretoria.

T. 012 346 0158 art@friedcontemporary.com www.friedcontemporary.com Front Room Art & Artists 8-22 October, “Critical Mass : where a Dot can take you” Works by Artemis Angelopulo, Eric DuPlan, Ross Kerr & Willem Oosthuizen.

116 Kate Ave Rietondale. Jennifer Snyman 082 451 5584 Jennifer@frontroomart.co.za www.frontroomart.co.za Gallery Michael Heyns The Gallery has moved to 194 Haley Str, Weavind Park, Pretoria.

T. 012 804 0867 michael@michaelheyns.co.za www.michaelheyns.co.za Pretoria Art Museum Opening 6 October at 19:00 “Eric Bolsmann – A Retrospective” until 4 December 2011.

Opening 12 October, Cecil Skotnes until 30 October.

Opening 19 October 18:00, University of Pretoria Final Year Students, Group 1, until 27 October.

Opening 2 November 18:00, University of Pretoria Final Year Students, Group 2, until 10 November.

Opening on 26 October at 19:00, “Play Off”

by Gordon Froud & Lance Friedlande, until 15 January 2012.

T.012 344 1807/8 art.museum@tshwane.gov.za www.pretoriaartmuseum.co.za St Lorient Fashion and Art Gallery A lifestyle gallery offering guests a broad selection of designer fashions, accessories as well as artworks by leading and emerging South African artists.

Amid the chic evening and day wear, art lovers can admire various art works ranging from paintings, professional photography to sculptures.

492 Fehrsen Street, Brooklyn Circle, Brooklyn, Pretoria. T. 012 4600284 anastasi@iafrica.com www.stlorient.co.za University of Pretoria Until 30 November, an exhibition of the sculptures by Fanie Eloff (1885 - 1947).

Mapungubwe museum, Old Arts Building, Hatfield Campus of the University of Pretoria.

T. 012 420-2968 marie.breedt@up.ac.za www.up.ac.za

North West Potchefstroom

NWU Gallery 3 - 9 October “Clover Aardklop National Arts Festival: Festival Artist Sam Nhlengethwa” 13 October - 4 November “Wilma Cruise: Alice and the Animals” Sculpture and prints by Wilma Cruise

SA ART TIMES. October 2011

North-West University Gallery, Building E7, NWU Potchefstroom Campus, Hoffman Str, Potchefstroom. T. 018 299 4341 20061374@nwu.ac.za www.nwu.ac.za

Centre.

94 Florida Rd, Durban. T. 031 312 3804/5 africanartcentre@afri-art.co.za www.afriart.org.za

NWU Botanical Gardens Art Gallery 3 - 9 October “Clover Aardklop National Arts Festival: Frank van Reenen” and Rooftop III: Introspection 13 October - 4 November “Jody Olën: The persistence of memory and making figments feel “ Painting by Jody Olën North-West University Botanical Gardens Art Gallery. T. 018 299 2753 20049830@nwu.ac.za www.nwu.ac.za

ArtSPACE Durban Until 15 October, “Sifundakwabadala” (Learn from the Elders) - Paintings by Sibusiso Duma and “The Space In between” - Print, video and sound by Wayne Reddiar and Sita Suzanne.

17 October – 5 November, “Juxta Poses” A Solo Exhibition of Recent Works by Terri Broll.

Oil, wax and photo collage are used to produce images with both layering and ambiguity.

3 Millar Rd, Stamford Hill, Durban.

T.031 312 0793 info@artspace-durban.com www.artspace-durban.com

Mpumalanga Dullstroom

Art @ sixty seven A selection of fine art, ceramics and blown glass art pieces, by well-known local artists.

Shop no9, 67 Naledi St, Dullstroom, Mpumulanga. T. 013 254 0335 mikek@boardwalkmanor.co.za www.shopat67.com Dimitrov Art Gallery Lifestyle Complex, shop no.4 on Cnr. Teding Van Berkhout & Hugenote/ Naledi Street, Dullstroom, Mpumalanga T. 013 254 0524 C. 082 679 5698 info@dimitrovartgallery.co.za www.dimitrovartgallery.co.za The New Dimitrov Art Gallery is situated in the Trams Alley shop no.1 , along the R 540 ( Naledi Drive ). Opening exhibition “Expression of Freedom” by renowned artist Dimitrov. info@dimitrovartgallery.co.za www.dimitrovartgallery.co.za

White River

The Artists’ Press Professional collaboration, printing and publishing of original hand-printed artists lithographs, by the Artists’ Press. Also artists books, monotypes & letterpress prints, particularly for artists working in SA. Waterfield Farm near White River, T. 013 751 3225 print@artistspress.co.za www.artists-press.net The Loop Art Foundry & Sculpture Gallery A collaboration and network for the avid art patron and collector as well as a full service facility for the artist. This is the place where you will find a unique and superior item or have something commissioned that you have always envisioned.

Casterbridge Complex Corner R40 & Numbi Roads White River T. 013 758 2409 theloop@worldonline.co.za www.tlafoundry.co.za

Kwazulu- Natal Durban The African Art Centre Until 8 October, “Birds of a Feather” featuring a special range of telephone wire, beaded and embroidered birds, jewellery and sculptures produced by crafters supported and mentored by the Development Team of the African Art

Christie’s International Auctioneers.

Gillian Scott Berning, Independent Consultant. T 031 207 8247 Gillian.gsb@mweb.co.za www. christies.com The Collective Until 8 October, “Follow Your Art” - group show of street art.

10 October – 15 October, “Freedom Posters” - Michael van der Meer.

17 October – 22 October, Gareth Bargate.

48b Florida Rd, (entrance in 4th Avenue) Greyville, Durban. T. 031 303 4891 thecollectivedurban.blogspot.com Tamasa Gallery A small commercial gallery, Tamasa exhibits a broad variety of contemporary KZN artists.

36 Overport Drive, Berea, Durban.

T. 031 207 1223

Pietermaritzburg

Tatham Art Gallery Opening 18h00 6 October, “Assemblage” featuring oil paintings by Peter Rippon at the Schreiner Gallery. Closes 17:00 27 November.

Cnr of Chief Albert Luthuli (Commercial) Rd & Church Str. (Opposite City Hall) Pietermaritzburg. T. 033 342 1804 www.tatham.org.za

Umdloti

The Audrey Rudnick Gallery Surrealist Paintings, Sculptures and Pod People

by Audrey Rudnick.

77 North Beach Rd, Shop no.10 Upper Level, Umdloti Centre, Umdloti.

T. 031 568 2445 audrey@thehoozoo.com www.audreyrudnick.com

Underberg

The Underberg Studio Set in a delightful garden facing the mountains, the gallery specializes in South African Fine Art landscape photography & Ceramics. Owned by photographer Lawrance Brennon and his potter wife, Catherine Brennon, the gallery is regularly updated with their latest work. The garden and gallery will be featuring the work of sculptor Sarah Richards during the Underberg Open Gardens Festival (28 – 30th October).

21 Ridge Rd, Underberg. Signage from R617 T. 033 701 2440 / 072 141 9924 / 082 872 7830 bren@yebo.co.za www.underbergstudio.co.za

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2011/09/07

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PAUL SENYOL. ANDREW SUTHERLAND. DANIEL TING CHONG. JORDAN METCALF.

The October Show

5 - 29 October

91 Kloof Street | CPT M| +27 82 679 3906 info@salon91art.co.za www.salon91art.co.za

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Subscribe to South Africa’s leading art publication The SA Art Times R 280 pa see www.arttimes.co.za for details

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The Cape Gallery, 60 Church Street seeks to expose fine art that is rooted in the South African tradition, work which carries the unique cultural stamp of our continent.

Featured above is artist Peter Gray

THE CAPE GALLERY

Open: Mon - Fri: 9h30 - 17h00 Sat: 10h00 - 14h00 Tel: 27 21 423 5309 Fax: 27 21 424 9063 E-mail: cgallery@mweb.co.za Web: www.capegallery .co.za

American express, Mastercard, Visa & Diner cards are accepted. Reliable arrangements can be made to freight purchaces to foreign destinations.

SA ART TIMES. October 2011

WESTERN CAPE / CAPE TOWN | GALLERY GUIDE

Western Cape Cape Town Absolut Art Gallery Permanent exhibition with the best Masters and Contemporary artists. Namely : JH Pierneef, Gerard Sekoto, Hugo Naude, Adriaan Boshoff, Frans Oerder, Maurice Van Essche, Tinus De Jongh, Gerard Bhengu, Ephraim Ngatane, Cecil Skotnes, JAE Volschenk, Conrad Theys, William Kentridge, to name a few.

Shop 43 Willowbridge Lifestyle Centre, Carl Cronje Drive, Tyger Valley, Bellville.

T. 021 914 2846 info@absolutart.co.za www.absolutart.co.za.

Alliance Française Cape Town 3 - 22 October, an exhibition of paintings with acrylic & natural pigments by Juanjo Sandoval.

155 Loop Str, CT. T. 021 423 5699 capetown@alliance.org.za www.alliance.org.za AVA 3 October - 11 November, “AVA Gallery 40 Years Anniversary Exhibition Part 1: 1971 -1990” curated by Marilyn Martin.

Association for Visual Arts, 35 Church Str, CT. T.021 424 7436 art@ava.co.za www.ava.co.za Barnard Gallery Until 18 October, “Reality or illusion” by Maeve Dewar.

55 Main Str, Newlands. T. 021 671 1666 gallery@barnardgallery.com www.barnardgallery.com Cape Gallery Opening 2 October, an exhibition by Peter Gray, until 22 Oct. 60 Church Str, CT. T. 021 423 5309 web@capegallery.co.za www.capegallery.co.za Carmel Art Dealers in Fine art, exclusive distributers of Pieter van der Westhuizen etchings.

Cape Quarter Square, 27 Somerset Rd, Green Point. T. 021 4213333 carmel@global.co.za www.carmelart.co.za Casa Labia Galleria Until 9 October, “Intimate Surfaces An ArtSideIn Exhibition” 18 October - 27 November, “Art on paper” a collection of works on paper by broad selection of South African artists. Curated by Cheryl Rumbak of Kalk Bay Modern and opened by Marilyn Martin on Tuesday 18 Oct at 6:30 pm.

For more information see the Kalk Bay Modern listing below.

Casa Labia Cultural Centre, 192 Main Rd, Muizenberg. T. 021 788 6068 info@casalabia.co.za www.casalabia.co.za Cedar Tree Gallery Contemporary Fine Art Gallery at Rodwell House.

Rodwell Rd, St. James, CT. T. 021 797 9880 cedartreegallery@gmail.com www.cedartreegallery.co.za

SA ART TIMES. October 2011

The Cellar Private Gallery The Cellar Private Gallery of Art deals exclusively in original & investment art, offering works by a variety of renowned & upcoming SA artists.

12 Imhoff Str, Welgemoed, Bellville T. 021 913 4189 info@thecellargallery.co.za www.thecellargallery.co.za Christie’s International Auctioneers.

Juliet Lomberg, Independent Consultant.

T. 021 761 2676 jlomberg@iafrica.com www.christies.com Commune.1 Gallery Until 13 October, “Umlungu” featuring large scale installations by Christopher Swift.

26 October - 23 November, Part 1 of a 2 part show: Nina Liebenberg “Point Counter Point” & Katherine Spindler “At sea” 64 Wale Str, CT. T. 021 423 5600 info@commune1.com www.commune1.com Ebony Currently showing until 31st October, Mixed Exhibition including paintings by Conrad Botes, George Diederick During & Lionel Abrams.

67 Loop Str, CT. T. 021 876 4477 info@ebonydesign.co.za www.ebonydesign.co.za Erdmann Contemporary /Photographers Gallery Opening 5 October, “Somewhere Tonight… ” a solo exhibition by Italian artist Elda Longo.

63 Shortmarket Str, CT. T. 021 422 2762 galleryinfo@mweb.co.za www.erdmanncontemporary.co.za Everard Read CT 14 – 19 October, Sam Allerton’s “A Closer Look” 20 October – 2 November, “New Works” by Anthony Scullion (Scottish painter) 3 Portswood Rd, Victoria & Alfred Waterfront, CT. T. 021 418 4527 ctgallery@everard.co.za www.everard-read-capetown.co.za 34 Fine Art 6 Oct - 4 Nov, Asha Zero Solo Exhibition ‘micro cluster picnic’ in Johannesburg in collaboration with Rooke Gallery.

25 Oct - 19 Nov ‘Outside’ Urban Contemporary Group Exhibition.

2nd Floor, The Hills Building, Buchanan Square, 160 Sir Lowry Rd, Woodstock. T.021 461 1863 info@34fineart.com www.34fineart.com The Framery Art Gallery 1 - 21 October: “Serenity of the Skies” Leila Benelli’s jewellery range consisting of black and white diamonds, set in white gold .Loyiso Mkize’s high quality art prints of his “Reflections of Inner Truth “series is for sale at the gallery in a signed limited edition form. A group exhibition “ Then and Now Always “ of new and previously exhibited works by artists including Wiseman Zwane, Phil Hetherington, Zolani Siphingela, John Kramer, Ayanda Mabulu, Elizabeth Robertson-Campbell, Tatyana Binovska, Cinga Samson, M. Gocolaci, Khaya Witbooi & others.

25 October - 15 November “Black is White” a solo exhibition of new works in oil on canvas by Tatyana Binovsska. She is a well known artist from Odessa and this is her first solo exhibition in Africa, about Africa.

67g Regent Rd, Seapoint. T. 021 434 5022 / 0781227793 debbiegrewe@gmail.com

G2 Art New artists and artworks by Nicole Pletts, Samantha Brown, Benjy Furawo, Khayalethu Witbooi, Hendrik Gericke, Gareth Humphreys, Frans Groenewald and Kristen McClarty, together with regular contributors Roelie van Heerden, Vanessa Berlein, Gilbert Pearse, Andrew Sutherland, Mongezi Gum, Anthony Gadd & Jenny Merritt to name a few, as well as beautiful sculpture by Victor Harley, Steven Andrews & Uwe Pfaff amongst others.

61 Shortmarket Str, CT. T.021 424 7169 di@g2art.co.za www.g2art.co.za Gill Allderman Gallery The Gallery has moved to a new space, still in Kenilworth. It has many rooms so that various exhibitions can take place at once and now stocks art supplies & has a gift shop.

Concord House (Pam Golding Building), Cnr Main & Summerly Rds, Kenilworth.

C.083 556 2540 gallery@new.co.za www.alldermangallery.co.za Goodman Gallery Cape Until 22 October, an exhibition by Siemon Allen.

3rd Floor, Fairweather House, 176 Sir Lowry Rd, Woodstock. T. 021 462 7573/4 cpt@goodman-gallery.com www.goodman-gallery.com Hout Bay Gallery New artworks by Sarah Danes Jarrett, David Kuijers, Koos De Wet and many more. Open 7 days a week.

71 Victoria Ave, Hout Bay. T. 021 790 3618 F. 021 790 3898 info@houtbaygallery.co.za www.houtbaygallery.co.za iArt Gallery 5 - 26 October, “Immersed” by Clare Menck & New Works by Cobus Haupt.

71 Loop Str, CT. T. 021 424 5150 info@iart.co.za www.iart.co.za iArt Gallery Wembley Until 26 October, “A House is not a Machine for Living” by Liam Mooney.

Wembley Square, Gardens, CT. T. 021 424 5150 info@iart.co.za www.iart.co.za Infin Art Gallery A gallery of work by local artists.

Wolfe Str, Chelsea Village, Wynberg.

T. 021 761 2816 & Buitengracht Str. CT. T. 021 423 2090 gallery@infinart.co.za www.infinart.co.za

Advertise with us at AT 021 424 7733 9 000 AT copies October 8 000 e-AT downloaded 16 000 e-mail news updates 12 000 online readers + affiliated news networks to carry your message + growing daily on Facebook all above figures are monthly 25

GALLERY GUIDE | WESTERN CAPE / CAPE TOWN Irma Stern Museum The permanent collection on display shows Irma Stern’s development as an artist whose subject matter included exotic figures, portraits, lush landscapes and still lifes conveyed in a variety of media, ranging from oils and water colours to gouache and charcoal.

Cecil Rd, Rosebank, CT. T. 021 685 5686 www.irmastern.co.za Iziko SA National Gallery Until 7 November, Standard Bank Young Artist For Visual Art 2011: Nandipha Mntambo.

Until 29 January 2012, “Ever Young” photography by James Barnor.

25 Queen Victoria Str, CT. T. 021 467 4660 info@iziko.org.za www.iziko.org.za Iziko Michaelis Collection Ongoing, Dutch treat: Dutch works from the 17th–20th centuries in Iziko collections Iziko Michaelis Collection, Old Town House, Greenmarket Square, CT. T. 021 481 3800 hproud@iziko.org.za www.iziko.org.za Iziko Good Hope Gallery (The Castle) Ongoing exhibition of oil paintings, furniture, ceramics, metal & glassware from the William Fehr Collection.

Buitenkant Str, opposite the Grand Parade, CT. T. 21 464 1262 kmooney@iziko.org.za www.iziko.org.za Iziko SA Museum Until 30 November, “Made in Translation: Images from and of the Landscape.”

25 Queen Victoria Str, Gardens, CT. info@iziko.org.za www.iziko.org.za

Johans Borman Fine Art 11 October to 26 November, “Persona” In ancient Latin, persona meant ‘mask’. Today it refers to the ‘social masks’ individuals choose to portray versions of themselves. This exhibition investigates the notion of how we see ourselves and others. Please note the new address: 16 Kildare Road, Newlands, CT. T. 021 683 6863. art@johansborman.co.za www.johansborman.co.za

1st Floor, Olympia Buildings, 136 Main Rd, Kalk Bay. T.021 788 6571 kbmodern@iafrica.com www.kalkbaymodern.com

Kalk Bay Modern Art on Paper and runs from 18 October to 27 November at Casa Labia Galleria and Kalk Bay Modern as a satellite gallery for this show. Director, Cheryl Rumbak, will be curating the show and it will be opened by Marilyn Martin on Tuesday 18 Oct at 6:30 pm. Art on Paper has been a very successful group show hosted at Kalk Bay Modern for the past three years and this year we are celebrating it by simultaneously hosting it at both venues. There is a fantastic line up of art work for the investment buyer from William Kentridge, Deborah Bell, Peter Clarke, Penny Siopis, Malcolm Payne, Wilma Cruise, Cecil Skotnes, Anne Sassoon, Colbert Mashile, Judith Mason, Willem Boshoff, Bonwen Findlay, Beezy Bailey, Nat Mokgosi, Diane Victor and David Koloane to rising starts such as Jane Eppel, Michele Tabor, Paul Molete, John Murray, Kate Gottgens, Fiona Pole, Conrad Botes, Barbara Wildenboer and many more.

Celebrating a wealth of South Africa’s talent in drawings, fine art editions, painting, sculpture and selected photography.

The Lovell Gallery Until 15 October, “The Field” by Berna Thom, winner of the Lovell Gallery Artists’ Competition.

139 Albert Rd, Woodstock. info@lovellgallery.co.za www.lovellgallery.co.za

Lindy van Niekerk Art Gallery A large selection of artworks by new and prominent South African artists and SA old Masters.

31 Kommandeur Rd, Welgemoed, Bellville.

T. 021 913 7204/5 lindy@artpro.co.za www.artpro.co.za

Martin Osner Fine Art Gallery Archival photographic prints, mixed media & collectable imaging.

Shop A14, Cape Quarter Piazza, 72 Waterkant Str, Green Point, CT. T. 021 790 6494 info@martinosner.com www.martinosner.com Michaelis Gallery Until 19 October, “Threshold” an exhibition of environmentally conscious and “A Conversation with Bolus: Science, Sensibility, Sensuality” UCT, 31 – 37 Orange Str, CT. T. 021 480 7170 nadja.daehnke@uct.ac.za www.michaelis.uct.ac.za

1st oor Cape Quarter Square 27 Somerset Road, Green Point Ph: 021 421 3333

email: carmel@global.co.za website: www.carmelart.co.za

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SA ART TIMES. October 2011

CAPE TOWN / OVERBERG / WESTERN CAPE | GALLERY GUIDE Rose Korber Art On show until 31 October, “William Kentridge: Selected Prints from Two Decades” an exhibition spanning the period from 1989 - 2010.

Several of these works are no longer available on the market and should therefore have considerable appeal for the discerning collector.

Included, too, is a superb selection of recent linocuts, all produced in 2010. These riveting works in black and white are a welcome return to this powerful medium by the maestro, after some twenty years.

48 Sedgemoor Rd, Camps Bay, CT. T. 021 438 9152 C.083 261 1173 roskorb@icon.co.za www.rosekorberart.com Rust-en-Vrede Gallery Opening 4 October at 19:00, “Self Portrait 2011” a group exhibition, until 27 October.

To be opened by Marilyn Martin.

10 Wellington Rd, Durbanville.

T.021 976 4691 rustenvrede@telkomsa.net www.rust-en-vrede.com Salon 91 Opening Wed 5 October, “The October Show” a group exhibition of mixed media.

Featured Artists Include: Paul Senyol, Jordan Metcalf, Daniel Ting Chong and Andrew Sutherland. This exhibition by an all-male cast promises a strong urban feel, straddling the lines between fine art, design, and street art.

Concludes Saturday 29 October at 2pm.

91 Kloof Str, Gardens, CT. T 021 424 6930 info@salon91art.co.za www.salon91.co.za South African Jewish Museum Until 27 November, “Zapiro: Jiving with Madiba” an exhibition of work by the wellknown cartoonist, Jonathan Shapiro, all of which depict or otherwise involve Nelson Mandela.

88 Hatfield Str, Gardens, CT. T. 021-465-1546 info@sajm.info www.sajm.info South African Print Gallery A wide selection of fine art prints by South African masters and contemporary printmakers. Until 6 October, “Hats Off!” an exhibition celebrating 25 years of outstanding original graphics produced at the Caversham Centre in the KwaZulu-Natal Midlands.

109 Sir Lowry Rd, Woodstock, CT. T. 021 462 6851 info@printgallery.co.za www.printgallery.co.za South African Society of Artists Until 9 October, the South African Society of Artists 105th Annual Exhibition, its prestigious annual exhibition where only selected, independently judged works will be on show.

The Sanlam Hall, Kirstenbosch Gardens Opening Times: Daily from 09h30 - 18h00 Liz Pearson T. 021 671 8941 or lizp@iafrica.com www.sasa-artists.co.za StateoftheArt.co.za Online Art Gallery A curated online art gallery bringing you original and affordable artwork created by selected Fine Arts students and graduates emerging from South Africa’s most prestigious art schools. With an extensive selection of styles and genres to reflect your taste, budget and requirements, and a range of services to support your choices, buying art couldn’t be

SA ART TIMES. October 2011

any simpler. T. 0724709272 info@StateoftheArt.co.za www.StateoftheArt.co.za Stephan Welz & Company Decorative and Fine Arts Auction 18 & 19 October.

The Great Cellar, The Alphen Hotel, Alphen Drive, Constantia. T. 021 794 6461 ct@stephanwelzandco.co.za www.stephanwelzandco.co.za Stevenson Cape Town Until 15 October, Conrad Botes solo exhibition “The Temptation to Exist” and a Forex Project show by Keren Cytter entitled “The Hottest Day of the Year” as well as work by Igshaan Adams in the Side Gallery.

Ground Floor, Buchanan Building, 160 Sir Lowry Rd, Woodstock, CT. T. 021 462 1500 cpt@stevenson.info www.stevenson.info Strauss & Co. Fine Art Auctioneers & Consultants.

The Oval, 1st Floor Colinton House, 1 Oakdale Rd, Newlands. T. 021 683 6560 ct@straussart.co.za www.straussart.co.za

Franschhoek Ebony Currently showing through the Month of October, Franschhoek “Art in Clay”. Ebony is one of the 6 participating galleries around Franschhoek.

Ebony will be showing specific installations and new works by Katherine Glenday, Clementina Van der Walt, Hennie Meyer, Lisa Ringwood, Mick Haigh and others.

4 Franschhoek Square, 32 Huguenot Street, Franschhoek. T. 021 876 4477 info@ebonydesign.co.za www.ebonydesign.co.za The Gallery at Grande Provence The Franschhoek ‘Art in Clay’ festival starts on 1 October and runs for the month of October. The Gallery is proud to include a selection of ceramics and ceramic sculptures

by Andile Dyalvane, Louise Gelderblom, Rae Goosen, Karin Lijnes, Zizamele, Karen Kotze, Zizipho Poswa & Nienke van der Meulen in The Gallery, The Cathedral and The Shop.

Opening on 16 October at 11h00, a solo exhibition, ‘Cultural Contrasts’, by well known Pretoria based artist, Willie van Rensburg, until 16 November.

‘The Project Room’ will present the Cape Craft and Design Institute’s ‘Handmade Collection’.

The, ‘Dillon and Jada’ Collection, which include a range of Vivienne Westwood shoes, is on show until the end of October in The Shop. Main Rd, Franschhoek.

T. 021 876 8630. gallery@grandeprovence.co.za www.grandeprovence.co.za Holden Manz Collection The Holden Manz Wine Estate is proud to announce the opening of its Art Gallery in the city centre of Franschhoek Village.

The Holden Manz Collection is focused on contemporary local art and showcases works including charcoals, collages, oils, drawings as well as photography & prints.

30 Huguenot Str, Franschhoek T. 021 876 44 02

info@holdenmanz.com www.holdenmanz.com Is Art During October “Art in Clay” 16 Huguenot Str, Franschhoek.

T. 021 876 8443 isart@lqf.co.za www.is-art.co.za

George Strydom Gallery SA and Master artists on display during October. Painting, sculpture, photographs, jewellery, ceramic & glassware on show by the following artists: Simon Stone, Brad Gray, Hanneke Benade, Gregory Kerr, Greg Schultz, Leigh Voigt, Piet van Heerden, Pierneef & Erich Mayer.

79 Market Str, George. T. 044 874 4027 info@artaffair.co.za www.artaffair.co.za

Hermanus Abalone Gallery During October in the Main Gallery: Group exhibition showcasing works on canvas & on paper by Alta Botha, John Clarke, Tadeus Jaroszynski, Elzaby Laubscher, Leonard Matsoso, Anna Vorster and sculpture by Jackson Hlungwani, Carl Roberts, Suanna Swart.

In the Annex: Graphic group exhibition by Hannes Harrs, Lucky Sibiya, Cecil Skotnes, El Loko.

2 Harbour Rd, The Courtyard, Hermanus.

T. 028 313 2935 info@abalonegallery.co.za www.abalonegallery.co.za Art Amble Hermanus Village Ten diverse and unique Galleries all within walking distance in the heart of Hermanus Village. Four resident artists’ studios to visit. Collect your Art Amble Guide at any one of the Galleries in Main Road or at the Hermanus Tourism Office. Contact Terry Kobus on 083 259 8869 or email originals@hermanus.co.za for more information.

Bellini Gallery During October, “Spring 2011” selected works

by Ed Bredenkamp, Annette Barnard, Anna Barth, Maeve Dewar, Annemarie du Plooy, Charlene Langguth, Elizabeth MillerVermeulen, Shannon Phillips, Alison Riordan, Vernon Swart, Louis Stroh van der Walt.

167 Main Rd, Hermanus. T 028 312 4988 bellini@telkomsa.net www.bellini-gallery.co.za Originals Gallery The art studio and gallery of Terry Kobus.

See the artist at work in his studio and view his latest paintings in an intimate gallery space. Shop 22 Royal Centre, 141 Main Rd, Hermanus. T. 083 259 8869 originals@hermanus.co.za www.OriginalsHermanus.blogspot.com

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ARTLife |

Nandipha Mntambo Photographs and text by Jenny Altschuler Introducing Nandipha Mntambo at her public talk in Cape Town last week, prominent South African historian and lecturer in Discourse of Art, Andrew Lamprecht, commended the artist for her “..amazing contribution to Art in South Africa.”, acknowledging her continuous ability to amazing and delight the artworld with new intriguing concepts with increasing depth of engagement.

A search for examples of Mntambo’s artworks through the website of her representing gallery, the Stevenson Gallery, reveals the success the artist has achieved in her short career as a sculptor. Ninety percent of the works created over the 5 year period have been sold. Her first solo exhibition, Ingabisa (2007), was presented at the gallery in the same year she completed her MFA, with distinction, at the Michaelis School of Fine Arts, UCT. Since then she has been included in international exhibitions, received a Wits/BHP Billiton fellowship, and taken up a four-month artist’s residency in Cleveland, Ohio, in 2010.

Earlier this year Mntambo was chosen as the Standard Bank Young Artist for Visual Art 2011 with an exhibition touring the country until September 2012. Debuting at the National Arts Festival, Grahamstown in June, the exhibition, Faena (referring to ‘…the most beautiful and skillful section of a bullfight - a dance with death, where the matador must prove his courage and artistry’), presents the artist’s explorations into the use of cowhide as a medium for self-exploration. Works are in sculpture, on paper and in performance on video, namely of public performance and personal and public dynamics inher28

ent in the art of bullfighting. The exhibition is currently showing at the Iziko South African National Gallery until 7th November 2011 after which it will continue its travel around the country showcasing at prestigious national art venues through 2012.

Mntambo is very specific about who and what she is not. Her artistic production thrives upon its play against the background of expected associations with traditional customs and notions related to some of the most prominent issues that have engaged South African artistic voices. Relationships with issues of race (blackness); gender and abuse and Western notions of African culture and identity are often assumed through the associations generated by encounter of the pieces; yet, she explains vehemently, the work is not about these issues at all.

She describes the experience within her formative years as being anything but the expected scenario. Growing up in Swaziland, her mother escaped the Apartheid experience and Mntambo identifies her background of growing up as being one in a white Jewish neighbourhood, with little traditional African influence. She traces part of her fascination with ‘body hair’ to her teenage years witnessing of the revulsion girls have to body hair. Her own lack of body hair, a characteristic shared by many African women, made her an outsider to the intense depilation rituals carried out by the girls she grew up with.

Globally body hair is symbolic of negative qualities of non-femininity and animalism, the opposite of delicacy and refinement.

But hair is also a symbol of beauty and status in the African experience as well as in other cultures.

SA ART TIMES. October 2011

NANDIPHA MNTAMBO: ARTIST’S PROFILES. | GALLERY GUIDE

Zeus. Bronze stature. 2009

Nandikeshvara Cowhide 2009

Mntambo half jokingly refers to scenarios where having ‘good hair’ is an indication of good fortune and elevates status.

Mntambo’s interest in the existence of the opposing forces of attraction and repulsion balancing within the same entity have led her to explore notions of the good and bad self; the physical combination of male and female qualities, the merge of the powerful and the vulnerable as well as the pull between the godly and the beastly. She has portrayed herself as the Minotaur (both animal and human); as Zeus (beastly and Godly), as Narcissus and Europa, (both the male and the female persona, the victim and perpetrator and the powerful and the vulnerable). She has created works in photography, sculpture, performance and video to convey the conceptual explorations of the balances of the opposing forces. She has used traditional material such as bronze as well as the avant-garde medium of cow hide in her sculptures.

Early on during her studies at Michaelis, Mntambo was surprised and frustrated at the general lack of depth she noticed in the understanding of ‘material’ in relation to the sculptors’ medium, in the South African art arena. She opened an interest at that point in the dynamics of dead matter and its potential for characterization, ciphering and manipulation as a vehicle for the art message. Choosing cow matter as the malleable medium was not a hugely complicated choice. It is a common and easily accessible animal and the parts were conceptually compatible with some of the issues she had begun interrogating: ie. beauty and ugliness, the intriguing and the disgusting

The Rape of Europa Photographic Composite Photo: Tony Meintjies 2009

and the absence/presence of life. Mntambo started utilizing smaller cow parts such as the hooves, the hair and later the entire hide, incorporating the chemical tanning into her procedure as an important part of the art process. She ascertained that the cow holds the potential for association with the opposing dynamics that interested her, as well as being a prominent symbol in many different cultures not only in expected African traditional rituals.

Yet Mntambo is really uncomplicated while describing the evolvement of her concepts. “‘The cow connects all civilizations but I am not talking about being swopped for cows”, she laughs, referring to the custom of Labola, practiced in South African traditional wedding rites. (Mntambo 2011 Michaelis School of Art public lecture). “I have used cowhide as a means to subvert expected associations with corporeal presence, femininity, sexuality and vulnerability.” (Mntambo 2007). Cow figures play a role in GreekMythology (the (the Minotaur), Indian spirituality (Nandi Bull), Spanish bullfight culture (the bull, symbolizing human - animal power struggle). These ‘non-African’ connections help the works to subvert expected links with African traditions while referencing timeless human psychological issues. Five cowhide sculptures form the centrepiece of the show – Vela Sikubhekile (‘Reveal yourself we are watching’), Retrato de um lutador (‘Portrait of a fighter’), Entrar (‘Enter’), Muleta (‘Red cape’) and Guqa Embi Kwami (‘Kneel before me’).

Pragade Touros SA ART TIMES. October 2011

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NANDIPHA MNTAMBO: ARTIST’S PROFILES. | GALLERY GUIDE

Nandipha’s work is currently showing at The SA National Gallery, Cape Town

Mntambo’s sculptures are molded upon casts of her own body as well as her mother’s and portray an extraordinary level of sensibility of the inner traces of human form and presence as well as the outer details of fabric texture and the flow of folds. She also expresses her experience that the hide retains certain ’memory’ of its original capacity and form, even after the intense processes of manipulation and training’ she puts it through. “…This ‘material memory’ that seems to live within the skin cells of the animals I use means that the medium itself can be seen as one that physically engages the concept of recollection, both on a cellular and physical level” (Mntambo 2007) In Faena Mntambo also uses cow hair to produce stitched ‘drawings’ on paper, for the first time. Dark and bold gesture lines in black conjure the shape and symbol of the African hut, which she sees also as an incubator, which nurtures and protects although it may smell differently and repulse. In a number of senses the drawing is also about the hair and the mother figure who nurtures and incubates you. The influence on these she attributes to her mother’s particularity about whom she allows to see her in any particular and personal way, using wigs to hide and build a profile of herself and who she is, that she is prepared to share. The insertion of the personal is highly important in her engagement with the boundaries between vulnerability and power, male and female, and the animal and

Detail from Paso Doble 2011. Praça de Touros I 2008.

Faena. September 2011 SA ART TIMES. October 2011

human. She expresses her investigation into her own bad and good ‘self’, her states between human and animal as well as the integration of both male and female entities in her own persona.

The Paso Doble video piece also engages in the play of opposing forces: shadow and light, the male and female characters, and the power balances between the strong and vulnerable. The dance is based on the magnetic energies between leader and the follower, the bullfighter and his cape, the controller and the controlled, the male and the female, the perpetrator and the victim and ultimately love and death.

Yet the dancers are both female, bald and not Spanish, and so purposefully undermines the expectations set up by this dance..

It is this combination of the evolving depth of conceptual engagement together with her ingenuity in the use of the variety of materials and media, which sets this exhibition a rung above other sculpture shows. The frictions and energies created by the opposite elements she is dealing with, complimentary and opposing, yin and yang, repulsion and attraction, are at once impelling and repulsive to the viewer, who cannot but come back for more.

(Right) Mntambo in the SA National Gallery, space during the set up of her Standard Bank Young Artist exhibition 31

Origin, acrylic on canvas 200 x 352 cm 2011

The Passion and Agony of Saint Conrad Lloyd Pollak: Conrad Botes’ latest exhibition ‘The Temptation to Exist’ presents Art History’s most passionate love story.

Romeo’s adoration for Juliet, Abelard’s entrancement with Eloise, pale into insignificance when set beside the rapture Conrad Botes inspires in Conrad Botes. The artist is completely besotted with himself and his own personal mythology.

Self-adulation goes hand in hand with messianic self-aggrandizement, and the latter attains megalomaniac proportions that cry out for pathological explanation.

24 paintings single-mindedly glorify Conrad. We see Conrad in head and shoulder format; Conrad in half-length; Conrad, full-length; Conrad in three quarter view; Conrad from the left; Conrad from the right, Conrad from above; Conrad from below; Conrad clad; Conrad, bare-chested; Conrad in the buff.

As if this was not enough, Botes also portrays himself as Job and Jesus Christ. Finally he apotheosizes himself as God excreting humanity through his poephol as he towers above a Transvaal landscape. Despite the rampant folie de grandeur, this is the only truly impressive painting amidst a welter of risible bluster and bombast presented in all seriousness without a shred of irony.

17 head and shoulder self-portraits are titled ‘The Temptation to Exist’ in allusion to the Romanian Philosopher, Emil Cioran’s eponymous volume of philosophical apothegms. Cioran asks “Is it possible that existence is our exile and nothingness our home”, and the question distils his view of the absurdity of existence in a meaningless universe where “the decision to exist, is the most irrational of all.”

over-inflation of scale, and the artist’s iconising of himself as a Nietzschean ubermensch. Botes’ head, heroicized by a sunburst of glory, gazes into distance as he valiantly struggles to vanquish the repressive forces of Calvinism on behalf of his people.

The psychic havoc inflicted by his stern, bible-bashing forbears is evoked by the tattoo motifs of vengeful, sadistic demons cruelly manhandling the damned that cover his neck, face and hair. In this dark night of the soul, Conrad becomes a tragic figure, a sacrificial lamb taking the sins of his people onto himself as the sweat of agony drips from his brow.

Cioran was an apologist for Hitler and Mussolini, and this body of work comes uncomfortably close to totalitarian propagandist portraiture and its volkisch Blut und Boden (blood and soil) ethos. Fascist too is the bludgeoning, Nuremburg Rally

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SA ART TIMES. October 2011

The Temptation to Exist roundels

CONRAD BOTES / REVIEW | GALLERY GUIDE

Communist roundels

Socialist roundels

The acres and acres of mind-bogglingly monotonous, repetitive self-portraiture confirm that Botes no longer has anything valid to say. ‘The Temptation to Exist’ is posited on a completely false premise. Long gone are the days when the minds of the overwhelming majority of Afrikaners were neurotically fixated on hellfire, brimstone and a punitive, old Testament God. Such notions hark back to Bitter Comix which already purveyed an outdated view of Afrikanerdom in its first issue of 1992, and has by now completely lost any relevance, for, unlike Botes and Kannemeyer, the volk have moved on.

The cartoon style is a shorthand that works perfectly within the intimate dimensions of the comic book’s 7cm by 5cm formats, however when projected onto the epic scale of 200 X 120cm to 200 X 350, the huge dimensions mercilessly reveal the crudity of Botes’ style, making his inability to handle foreshortened arms and hands in ‘Anarchist’, ‘Judas I hate myself’, ‘Pilgrim’ and ‘Job Self-love is an Easy Thing’ glaringly apparent.

The same repetition occurs in ‘Communist and Socialist’ where three nigh identical head and shoulder images of Christ are juxtaposed with three nigh identical portraits of Osama bin Laden, making the hackneyed point that Jesus’ gospel of love and forgiveness is honored more in the breach than the observance, and that Islamic fundamentalism and its Christian equivalent are equally destructive.

Botes never says anything once when he can say it twice or thrice or, in the case of the portraits, 24 times, and he again brands organized religion as a source of iniquity by equating the Virgin Mary with Eve and original sin in ‘Terrorist and Anarchist’.

The entire exhibition is predicated on Michael Stevenson’s blind faith that bigger means better. As soon as artists join his stable, the dimensions of their work are immediately bumped up into lumbering enormities, as recent exhibitions by Tom Cullberg, Tracey Payne, Anton Kannemeyer and Willem Boshoff demonstrate. In Botes’ case it proves disastrous as the style cannot sustain the scale.

The artist began his career with comic-strips, and he still works in a draftsmanly comic book idiom in which line delineates anatomical contours and details of clothing and hair. Colour is used purely as a fill-in, and there is no painterly brushwork or textural intrigue.

The palette resembles that seen in a cheap print-job in which one colour is used for the figure, another for the ground, and combinations of the two for the rest. Short-cut stylizations often stand for, rather than represent things, such as the sea of faeces in ‘Ocean of Shit’ I and 11; the rock in ‘Job Self-love is an Easy Thing’; and the tree in ‘Judas I Hate Myself’.

SA ART TIMES. October 2011

Such criticisms cannot be leveled at the great masters of comic book syntax like Roy Lichenstein whose monumental compositions demonstrate tremendous formal sophistication transmuting, rather than reproducing, his sources. He plays elegantly witty games with comic book stylization turning it into a flexible medium through which he reflects on American capitalist culture, the International Modern and Art Deco styles and the entire gamut of the isms.

Botes’ mechanical and formulaic pot-boilers look as if they were churned out by an army of assistants endlessly repeating the same old artistic recipe, and the results are still-born. The Keith Haring-like figurations covering the faces fail to animate Botes’ static compositions, and it is only in his installation ‘The Stolen Shadow’, where the contrast between the chalk figures and the black ground is maximal, and shading dispensed with, that the breath of life enters his work. This is art that should have firmly resisted the temptation to exist.

Communist

Socialist 35

STELLENBOSCH

the art of recognizing yourself

Kunsgalery Art Gallery

Experience the abundance of South African artistic talent by prominent South African Artists.

1968

Piet van Heerden Overberg landscape oil on canvas, 26cm x 45cm

www.stellenboschartgallery.co.za e-mail: mjg@kingsley.co.za hester@stellenboschartgallery.co.za Tel/Fax: 021 887 8343 Cell: 082 566 4630 / 076 279 2175 34 Ryneveld Street, Stellenbosch

Tel: 044 874 4027 • www.artaffair.co.za 79 Market Street, George • GPS 33°57’42.66’’S | 22°27’24.54’’E

WESTERN CAPE | OVERBERG / GALLERY GUIDE Shelley Adams Studio & Gallery A permanent exhibition of artworks by Shelley Adams in her personal studio space. She also offers ongoing art courses, crit classes and workshops.

19A Royal Centre, Main Rd, Hermanus.

C. 072 677 6277 www.shelley-adams.com Walker Bay Art Gallery View the wide selection of paintings, sculpture & ceramics by established as well as up and coming South African artists.

171 Main Rd, Hermanus. contact: Francois Grobbelaar 028 312 2928 francois@walkerbayartgallery.co.za www.walkerbayartgallery.co.za

Klein Karoo

Sheena Ridley Open Studio and Sculpture Garden Sculptures and Paintings N9 Langkloof near Uniondale, Klein Karoo T. 083 5892881 sheena@ridley.co.za www.ridley.co.za

Knysna

Dale Elliott Art Gallery Exhibition of new images of the Garden Route

by Dale & Mel Elliott Woodmill Lane Shopping Centre, Knysna.

Anneline: T. 044 382 5646 dale@dalelliott.co.za www.daleelliott.co.za Knysna Fine Art During October, “Equinoctial Exhibition 2011” Thesen House, 6 Long Str, Knysna. T. 044 382 5107 C. 082 5527262 gallery@finearts.co.za www.finearts.co.za

Langebaan

Bay Gallery Bay Gallery supports excellent, local artists, many of whom are members of S.A.S.A. All mediums exhibited.

Marra Square, Bree St., Langebaan. Contact: Daphne 073 304 8744 baygallery@xsinet.co.za www.baygallery.co.za

Oudtshoorn

Artkaroo Gallery A selection of authentic Karoo fine art by various established and emerging artists.

107 Baron van Reede, Oudtshoorn.

T.044 279 1093 janet@artkaroo.co.za www.artkaroo.co.za

Paarl

Atelier Paarl A group of established, multi disciplinary artists from Paarl are exhibiting in the form of an Art Route at various venues along Main Street, Paarl, from 26 to 30 October. The artists exhibiting together include amongst others Selwin Pekeur, Kervin Cupido, Jeffrey Appolis, Adele Claudia Fouche, Tertia du Toit & Nanette Ranger. A percentage of income from sales will be in aid of Amado Assisted Animal Therapy. For more information go to www.atelierpaarl@webs.com or contact: Adele 082 522 4010 adele@artiststudio.co.za Artist’s Studio Until 22 October, “Kaalkuns” an exhibition of Nudes and Erotic Art featuring well known Boland artists such as: Selwyn Pekeur, Kerwin Cupido & Adele Claudia Fouche.

136 Main Rd. Paarl. For further info contact: Adele 082 522 4010 or adele@artiststudio.co.za Hout Street Gallery The Hout Street Gallery specialises in South African paintings and fine art and offers an extensive range of ceramics, sculpture, creative jewellery, glass, crafts and functional art. 270 Main Str, Paarl. T. 021 872 5030 zetler@icon.co.za www.houtstreetgallery.co.za

Piketberg

AntheA Delmotte Gallery Until 25 October, a group exhibition with AntheA Delmotte, Clare Menck, Mary Duncan & Jeanette Unite.

47 Voortrekker Str, The Old Bioscope, Piketberg. C. 073 281 7273 anthea@lantic.net

Plettenberg Bay

Lookout Art Gallery A fine selection of interesting contemporary paintings, sculptures & blown glass.

The Courtyard, Lookout Centre, Main Str, Plettenberg Bay. T. 044 533 2210 mwdawns@mweb.co.za www.lookout-art-gallery.co.za

Stellenbosch

101 Dorp Gallery Opening 6 October @ 18:00, “Rubber, Recycle, Relove” a range of uniquely handmade recycled tyre (rubber) objects to be used as practical one-off pieces by Roché van den Berg, until 28 October.

101 Dorp Str, Stellenbosch. T. 021 887 3385 101dorp@slee.co.za www.slee.co.za Rupert Museum 28 Sept – 28 March 2012, an extensive selection of works by Willem Strydom.

Stellentia Avenue, Stellenbosch T. 021 888 3344 saw@remgro.com www.rupertmuseum.org Sasol Museum Until 29 October, “Dichotomies in Objects” Contemporary South African Studio Jewellery from the Stellenbosch Area.

Opening 6 October at 18:30, “Handbound: A Collection of Illustrated Bookworks” as well as “Many Rivers to Cross: Conflict Zones, Boundaries and Shared Waters” by Keith Deitrich, both until 29 October.

52 Ryneveld Str, Stellenbosch T. 021 808 3691 Stellenbosch Art Gallery An extensive selection of paintings, sculpture, handmade glass & ceramics by selected Western Cape artists are on offer to the discerning buyer.

34 Ryneveld Str, Stellenbosch.

T. 021 887 8343 mjg@kingsley.co.za www.stellenboschartgallery.co.za

Villiersdorp

Elliott Art Gallery Themed Boland and Overberg Exhibition by Dale and Mel Elliott 80 Main Rd, Villiersdorp.

T. 028 840 2927 dale@daleelliott.co.za

Wilderness

Beatrix Bosch Studio Unique works in leather as well as paintings & photography can be viewed at her studio.

57 Die Duin, Wilderness. T. 044 877 0585 www.beatrixbosch.co.za

Atelier Paarl presents: The launch of the Paarl Art Route

Atelier Paarl is a group of Paarl artists who collaborate to host events and market their art together. These established and emerging artists have decided to join forces to launch an Art Route in Paarl from 28 till 30 October 2011 to showcase their talent and artworks at specific venues throughout Paarl. Many of the venues will continue with exhibitions afterwards.

Some of the artists include: Kervin Cupido, Debbie de Beer, Tertia du Toit, Adèle Claudia Fouché, Selwyn Pekeur, Janet Malherbe, Marlize Meyer, Cathy Milner, Nanette Ranger, Vernon Swart and Jake Watson. A number of artists will also be painting in public during this weekend, which coincides with the Cultivaria festival in Paarl. Various coffee shops, restaurants, wine shops, art shops and galleries will form part of the Paarl Art Route.

Well known artist, Tertia du Toit, has designed an artistic map of the art route identifying the participating Atelier Paarl artists and all points of interest. This map will be available from all the participating venues and from the Atelier Paarl website (www.aterlierpaarl.webs.com).

For more information: Phone: 021 871 1670 / 084 793 5770 Business hours: 28 & 29 October 2011: 09h30 – 18h00 / Sun 30 October: 09h30 – 15h00 Email: atelierpaarl@gmail.com Visit the website: www.aterlierpaarl.webs.com

SA ART TIMES. October 2011

37

GALLERY GUIDE | EASTERN CAPE

Eastern Cape Alexandria Quin Gallery & Sculpture Garden Enjoy refreshments under the jacaranda tree while enjoying the sculptures of international sculptor Maureen Quin.

5 Suid Str, Alexandria, Eastern Cape, following the signs from the main street.

T. 046 6530121 C. 082 7708000 quin@intekom.co.za www.quin-art.co.za

East London Ann Bryant Gallery Until 15 October, Brian Hammond Solo Exhibition in the Ann Bryant Coach House.

20 October – 5 November, an exhibition of oil paintings by Juliet Greig.

9 St. Marks Rd, Southernwood, East London.

T. 043 722 4044 annbryant@intekom.co.za www.annbryant.co.za Malcolm Dewey Fine Art Ongoing exhibition of oil paintings by Malcolm Dewey plus works by a selection of local artists.

60 Darlington Rd, Berea, East London.

T. 043 7260421 art@dewey.co.za www.originalart.co.za

Vincent Art Gallery The gallery houses an exceptional collection of fine arts, sculptures, blown glass, ceramics, exclusive jewellery and decor items.

2 Donald Rd, Vincent, East London.

T. 043 726 4356 vinceart@lantic.net www.vincentartgallery.co.za The Athenaeum Until 6 October, “Walking between the Worlds” by Cleone Cull.

23 October – 11 November, “Reviewing medium: paint as flesh” an exhibition of oil paintings by Michele Fuller.

7 Belmont Terrace, Central, Port Elizabeth.

T. 041 501 8300

Ron Belling Art Gallery Until 6 October an exhibition of collected works called “Something Beautiful” and curated by Clayton Holliday.

Opening 11 October at 18:00, “Seeing....” photography by Millard Arnold until 21 Oct. 1st to 8th of November, Frederike Stokhuyzen: recent oils and watercolours.

30 Park Drive, P.E. T. 041 586 3973 ronbelling@mweb.co.za www.ronbelling.co.za

Port Elizabeth ArtEC (Previously EPSAC) From the 11- 21 October, “Anything But Painting Exhibition” an exhibition of high quality handmade crafts.

36 Bird Str, P.E. T. 041 585 3641 gallery@epsac.co.za www.artecpe.co.za Nelson Mandela Metropolitan Art Museum Currently on show until January 2012, “Painting on Paper” an exhibition exploring works on paper from the Art Museum’s permanent collection.

1 Park Drive, Port Elizabeth. T. 041 5062000 artmuseum@mandelametro.gov.za www.artmuseum.co.za

Send us your art news and Gallery Buzz to: editor@arttimes.co.za

M I C H A E L H A L L P H O T O G R A P H Y 021 461 6344 www.mikehallphoto.com

ARTLife THE SOUTH AFRICAN

Every year for 17 years hundreds of artists decend onto a small plot called Steenbokfontein on the West coast near Lamberts Bay for a weekend - to show work in Gerrit Burgers house - on around his space, it’s definately something to look forward to and experience. (Photo Joshua Miles)

THE ITALIAN ARTSHOP opens in Newlands, Cape Town

Due to a growing demand for our art materials we have now opened a retail outlet. We pride ourselves in being specialists, dedicated to bringing the finest materials

available to both the serious artist as well as the novice.

Browse and discover our unique range of materials, fine customer service, expert advice and deceptively good value.

Visit us at 207 Main Road, Newlands or call 021- 685 1877 s www.italianartshop.co.za

ARTLife | SA GALLERY BUZZ

ART EC, PORT ELIZABETH : Basil Brady, Jackie Griffin-Jones+ Peter Midlane / Ian Mccullum + Stephanie Bester/ Jenny Stokes, Ena Griffin+ Matty Blomerus./ Monique Basson / On A Clear Day (Oil On Canvas) By Jackie Griffin-Jones./ Jackie Griffin-Jones/ Jackie Griffin-Jones + Peter Midlane / Dominique Platt / Peter Midlane

17TH STEENBOKFONTEIN ART EXHIBITION Gerrit Burger and friends at The 17th Steenbokfontein Art Studio, West coast. Photo’s by Joshua Miles CAESARSTONE STUDENT DESIGN AWARDS From left to right Front row: Rene Kotze, Lecturer, Tshwane University of Technology Department of Interior Design Wouter Basson, Winner, Tshwane University of Technology Department of Interior Design Janina Masojada, Judge, Designworkshop:sa Back Row: Jonathan Anstey, Judge, Stauch Vorster Architects Dorothy Van’T Riet, Judge, DVR Lisa Younger, Judge, Activate SpaceDarren Bester, Judge, It Is Design... From left to right Front row: Wouter Basson, Winner, Tshwane University of Technology Department of Interior Design Rene Kotze, Lecturer, Tshwane University of Technology Department of Interior Design Back Row:Bridgitte Raats, Logistics Director, Caesarstone Trevor King, Marketing Director, Caesarstone Rudi Eggers, Managing Director, Caesarstone

40

SA ART TIMES. October 2011

SA GALLERY BUZZ | ARTLife

THE FRAMERY ART GALLERY: “Reflections of Inner Truth Radiating Beauty” . Ayanda Mabulu, Debbie Grewe, Loyiso Mkize and Zolani Siphungela. / Pnina Fenster (editor of Glamour magazine ) and Debbie Grewe / Loyiso Mkize and Leila Benelli

THE SOUTH AFRICAN SOCIETY OF ARTISTS (SASA) prestigious Annual Exhibition winners include: Charles van der Merwe Les Garcon de Cafe, 1st Place- Oils / Penny Steynor Kalahari Storm 1st Place - Pastels / Solly Gutman Smokebreak - Table Bay Harbour 1st Place - Drawing

THE BARNARD GALLERY: Gareth Cork;Tracy Payne; Chris Barnard / Nicole Jousse; Bianca Gardelle / Verl Roux; Moira Barham; Sonja van Staden; Carla van Staden

Amaler - Raviv Tretchikoff poster available Amaler-Raviv removed a Tretchikoff poster from a pole in the mother city and painted her reaction to this exhibition at the National gallery.

This painting then sold on auction for R 25 000 donating money to other artists in the community.

Posters of this painted poster are available at R50 each from galleries around the city of Cape Town This intervention continues the process of making the image accessible to the people. www.amaler-raviv.com arlene@amaler-raviv.com 0832310860 COMMUNE 1: Christopher Swift’s exhibition at Commune 1, Wale Street, Cape Town, entitled: Umlungu

Simon Jones My Mystic Muse An exhibition of acrylic paintings: 23rd October – 12th November 2011

My first exhibition was at The Goodman-Wolman Gallery, Cape Town in 1975.

The primary conduit for my creativity in the interim has been the Atlantic Art Gallery, through three changes of venue. I, like innumerable fellow artists, am indebted to Riva Cohen for the caring manner she held the helm solo all these years. I wish her a peaceful retirement.

‘My Mystic Muse’, a one-man exhibition at The Cape Gallery, will be opened by Lloyd Pollack on October 23rd 2011 on Sunday at 4.30 p.m. It has been an unusually long five-year gap since the previous exhibition in 2006 at the same venue.

Based in Fish Hoek for two decades, I am a stationary traveller who holds a firm belief in the celebratory nature of the spirit, even when ponder on whether the rabbit-hole reaches the ‘other side’.

summerland idyll 120 x 105 cm

The relationship man has with nature and, conversely, the tenuous balance of this ephemeral liaison is a recurring theme in my paintings.

the confluence 105 x 94 cm

lunar equation 80 x 65 cm

Subtle colour and symbolism coupled with flowing linearity invite the viewer to meander around the canvas without being arrested by any specific highlight.

hikers Smitswinkel Bay 100 x 80 cm

waiting for the rainbow 80 x 80 cm

The Cape Gallery Hours: Mon to Fri : 09h30 to 17h00 Sat : 10h00 to 14h00 American express, Mastercard, Visa and Diner cards are accepted.

Reliable arrangements can be made to freight purchases to foreign destinations.

Tel: +27 21 423 5309 • Fax: +27 21 424 9063 email: web@capegallery.co.za • web: www.capegallery.co.za physical address: 60 Church Street, Cape Town

view from an ivory tower 105 x 79 cm

I am the cosmos 100 x 65 cm

the persistence of amnesia 125 x 103 cm

SALOMI PRINSLOO

The Land Exploring RealiƟes of Co-existence During the twenƟeth century, following arƟsƟc experiments like Futurism and Dadaism, the art scene became sharply divided between so called academic art on the one hand and experimental or avant garde art on the other hand. For the rest of the century, art criƟcs would throw their weight behind experimental and avant garde arƟsts, who would gradually move away completely from “old” ideals like aestheƟc beauty and the integrity of a work of art. The so-called conceptual art movements in the late twenƟeth and early twenty rst century would even disregard the physical artwork in favor of the idea of theory behind it, presenƟng, in a spirit that does not really diīer much from dada, something as arbitrary and abstract as a brick or a hosepipe as a work of art. This might slowly have started to change with the post modern idea of juxtaposing artworks and styles from diīerent arƟsƟc periods in one work, which can ulƟmately be seen as the consequence of the postmodern concept of pasƟche.

But while the Renaissance ideal of individual expression might have reached a climax at the turn of the century, the problem of co-existence has become central in the postmodern era. News and informaƟon media like television and

Van uit ’n woud wat water spoeg skud hulle vuilheid uit

www.salomiprinloo.com salomiprinsloo@gmail.com

082 878 0441

Free State

Breath of life

Rooi Gemarmer

the internet and the availability of relaƟvely cheap air travel has put the world within the reach of the man on the street. Globalism, which can be dened as the phenomenon of big companies operaƟng in diīerent countries, has brought people from all over the world together in one global village in which not only the co-existence of people from diīerent countries should be observed, but also, and to a much larger degree, the co-existence of man and nature on a globe which is threatened by over populaƟon and exploitaƟon. As such it can be expected that “tradiƟonal” works like landscapes and owers will co-exist with the more modern and postmodern ideals of conceptualism.

Salomi Prinsloo’s work on this exhibiƟon can primarily be seen as an exploraƟon of the co-existence of man and nature, and of diīerent creatures from nature and the planet they live on. While on the surface the owers like anthuriums and orchids are merely beauƟful and decoraƟve, the concept of co-existence becomes clear with Ɵtles like “Draakbekkies eet die atmosfeer se gifgasse op” (LiƩle dragons eaƟng the atmosphere’s poisonous gasses) “Breath of Life”, “Atmosphere and Peace”. The arƟst has done research on the posiƟve eīect these beauƟful creatures have on the planet and represents them in perfect harmony with their environment. Her brushstrokes are short, fast and energeƟc, represenƟng the life force behind the owers and the environment. The fact that the owers are represented as part of their environment and not as the main focus point, and are painted in a natural environment, emphasize the unity between these beauƟful creatures and their environment. The arƟst’s conceptual intenƟons are made very clear with “Spekboom”, represenƟng an indigenous tree divided in 250 parts for each of the guests to grow their own indigenous tree and in the process preserve the planet.

At a Ɵme when we are focusing on the co-existence of diīerent people on earth and of man and his planet, the arƟst also successfully integrates diīerent arƟsƟc concepts and styles.

-Fransi Phillips

ARTLife |

Marinda Swartz “Avatar” 4 October - 19 November

46

Berna Thom “The Field ” Ends 15 October

SA ART

THE LOVELL GALLERY

TO SPOT GREAT INVESTMENT ART YOU NEED: 1. A GOOD EYE 2. A LEVEL HEAD The excitement of collecting fine art, whether you are starting out or adding to your collection, is finding, a few years down the line, that the gem you bought for next to nothing, is now a diamond.

O f c o u r s e f i n d i n g s u c h h i d d e n t r e a s u r e s i s n ’ t e a s y.

It’s our business to make this both simple and enjoyable for you.

Our juried artists competition has identified some new South African talent - ones gallerists and collectors alike believe show great promise. We’re sure you will too.

Berna Thom, creates imaginary maps of mythical journeys that hint at humankind's search for a collective meeting space. Rumi, a Persian poet, calls this 'the field’ that is out beyond ideas of wrong-doing and right-doing. The seeker has to search within the field – creating different pathways with no single point of arrival. This culminates in an ongoing journey – the “meeting place” might be temporarily resolved, but the journey is never complete.

Marinda Swartz harnesses the whimsical mythology of Japanese manga and advances into traditional art forms of oil painting and drawing. It is an act of simultaneously looking back as well as beyond convention. Swartz says, “we live in a global multi-media world where the influence of graphic illustration can be seen everywhere. My work tries to convey the richness of this ongoing synthesis and evoke an international language that can cross boundaries, generations, dialect and cultures’”.

Works from both these artists have sold immediately into collections during special pre-screenings arranged by The Lovell Gallery. For more information on how to attend any pre-screening, please contact us.

139 ALBERT ROAD WOODSTOCK CAPE TOWN WWW.LOVELLGALLERY.CO.ZA

SA ART TIMES. October 2011

BUSINESS ART

ART LEADER | BUSINESS ART

Koulla Xinisteris volatility of a lot of the markets people don’t really know where to put their money, so art seems like a rather stable investment”.

South African Independent curator Matthew Partridge text, Justin McGee pictures

“I really hate being in the public eye,” Koulla Xinisteris confesses to me over coffee. “At times it makes me cringe”.

Nevertheless Xinisteris has always had a strong presence in the South African art world. With thirteen years as director of the Bag Factory and an equal time spent as curator of the SABC Collection, and as curator of a number of shows over the years, she has certainly seen what the South African art world has to offer. And now, as she partners with Linda Givon in a new venture, her role as one of the future custodians of the art world has become redefined.

Reflecting on what has brought her to this point she says there is “no real way of knowing why and how one lands up doing what one does”. Yet her history gives some clue as to how she has found her way through the ranks [of the art world] to the point where she is now venturing to start a gallery.

Having worked with Ricky Burnett, among others, on his landmark Tributaries exhibition during the Apartheid years, during her time at the Johannesburg Art Foundation certainly gave her a unique perspective on the changing landscape of what was to come in future years. As she reflects, the ’80s was such an important time for South Africa and indeed for its art.

In the mid ’90s she began lobbying the SABC to start bringing their collection, which at that stage was mostly decorative, out into the view of the public. For the first half of that decade her acquisitions budget was a mere R50 000. “I hit the auctions,” she says with a fond smile, where she picked up works by artists such as Dumile Feni and Marlene Dumas for prices sometimes under R1 000. “I saw it as an opportunity to start filling the gaps in the collection. It was a real rush”.

It’s this experience that she brings to starting a new gallery.

Whilst the art market is still relatively small, “perhaps still in its infancy”, she sees it as a healthy investment. “Because of the

But the new venture does not mean that she will be abandoning her post as the curator of the SABC. Asked whether she feels that she will be spreading herself thin, Xinisteris says, “I’ve always been lucky enough to have wonderful people around me.” Working with historian Graham Neame as an advisor has always enabled the collection to have a real focus.

“It’s monochromatic in its mood, it’s tough work that is not easy to live with. But for the moment I have a responsibility to make sure the collection is secure”.

Asked whether the environment is healthy enough to start with a new gallery Xinisteris notes that it’s a good sign when people start talking about art as a good investment opportunity. “Look at the SABC. In about 15 years, from about R15 million, the value of the collection has appreciated to getting on to R100 million.”

However Xinisteris is not all about the money saying. “It’s heart breaking when people take the mercenary position in terms of art. We live in a material world, but the head is still led by the heart, there’s something about the physicality you get when responding to an artwork, something that you just have to have, and initially perhaps you don’t know why.”

When I ask what art makes her tick she mentions Diane Victor.

“In the early days when I used to go the Wits Club with my husband, (sculptor Neels Coetzee) and Alan Crump, the then professor of Fine Art, they pointed out Diane Victor (who was then still a student) to me. Since then I have followed her work.

She grows and grows. As does, for instance, Santu Mofokeng.”

Speaking more closely about the future of the gallery Xinisteris says, “We still have a lot of looking to do, but we are committed to the local market – we don’t want it be neglected.” She first worked with Linda Givon in the mid ’90s when, together with Mary-Jane Darrol, they ran Art Safari Africa for a year.

Since then Xinisteris and Givon have interacted due to her work as buyer and collector for the SABC and some private collectors. But now, as her role changes she is the one who will be doing the selling. The idea for the gallery initially came when Xinisteris left the Bag Factory last year. “Linda and I were having lunch, when she suggested that we should do something together. We never really followed it up and I had offers from elsewhere. I like my independence; I can’t really be held down to one thing,” she states as a matter of fact.

Months went by and then the penny dropped. “It seemed natural that Linda and I should do this together.” The change in role, from buying to selling, is nevertheless rather daunting.

“I trust my eye – it’s my weapon in selecting, but obviously I have my gaps. Part of the excitement is the learning and the discovering.”

Xinisteris continues: “After looking for just that one work that you must have for the collection, I am now faced with looking for artists. This is the exciting part – connecting and communicating with artists, helping to uncover a vision and fostering new talent.” However she adds cautiously, “I don’t want a situation where I will be selling work I don’t believe in.”

As the second cup of coffee nears completion, Xinisteris says with her eyes gleaming: “I have to keep my feelings and mind sharpened so I’m never blunted. But though one can perhaps help people to discern, the one thing you can’t do, I suppose, is teach people how to feel.”

SA ART TIMES. October 2011

49

FNB Joburg Art Fair 2011 SA Art Times Report Back Text : Matthew Partridge Photo’s: Jim Woolf On Sunday afternoon, as the 4th FNB Jo’burg Art Fair drew to a close galleries had mixed reactions about their success on the fair. Director of the fair Ross Douglas was frank about its success; “look, the recession is real”. Nevertheless Douglas was positive about the overall success saying that the international attention has been an overwhelmingly positive shift.

The highlight of this international interest was perhaps the the keynote address give by the director of the Tate Modern Chris Dercon. Having started his relationship with South African art in 1997 during the second (and final) Jo’burg Biennale curated

by Okwui Enwezor Dercon said that he was alarmed at the level of government involvement in such cultural events around the arts.

This was nevertheless at odds with what Douglas saw as an overwhelming buy in on the part of government with five separate arms coming to the party. South African Tourism, Arts and Culture, Trade and Industry, Gauteng provincial government and were all in some way involved in pledging their support to the fair.

Douglas explained that this was because, after 2010 and the international exposure gleaned by the FIFA soccer world cup, government has changed its approach to what it sees as ‘premier events’ that move to encourage ‘social cohesion’. “The big thing moving forward is that we don’t want to be entirely reliant on one sponsor”, Douglas said reflectively. However, with FNB coming on board with naming rights for three years the longevity of the fair in ensured, albeit in the short term.

But this is perhaps a singularly most troubling fact that the fair 50

raises – the transaction of cultural events (in the arts at least) that are dictated by money, or the financial transaction thereof.

The Jo’burg Biennale for instance saw only two years during 1995 and 1997 before it was shut down. Art awards also seem to have had a bad run on things – with the only surviving examples lasting in the names of the banks, with FNB this year adding its own philanthropic endeavour. One needs to think back a decade to think how the slanderous affairs of one time patron to the arts, Brett Kebble hit the front pages of the popular press, taking the arts with it as an ample breeding ground for money laundering and greed.

This being said, Dercon was also encouraged by the large numbers of school pupils being bussed in saying that this kind of exercise should be encouraged in the future with a bigger social range of pupils being given access to the event. This was also a part of a bigger theme picked up on by Dercon who said that museums needed to assess where they stood in terms of cultural reproduction. What is bothering is how arts and culture are viewed by a geneally lethargic community in South Africa.

What seems to stand is a fetishisation in terms of the monetary spectacle of the fair. That this is where we have arrived at; bustling stalls with gallerists, pictures on the wall, aiming to sell their wares to seasoned collectors. One needs to think back to early models like the Paris Fair at the turn of the century and see how audiences were pulled. Perhaps we are indeed living in a time of spectacle? Spectacle created out of the creative act. This is the modern temple of the commodity, where cash is king.

SA ART TIMES. October 2011

The fact that this is an industry event escaped no-one with Thembinkosi Goniwe quick to point out that there is no benefit bemoaning the fair as it a place to all get together. Who it was he was referring is no mystery, but the inclusive gesture of ‘all’ get together is perhaps a tad ambitious.

Reaction to the buying and the selling was mixed at the fair with some newer galleries like Whatiftheworld saying that they had managed to attract some new buyers among their regular collectors. Before closing at lunch on Sunday they reported that they had sold out of work by Michael Taylor and Athi PataRuga.

Stellenbosch Modern and Contemporary reported that sales had done better on the contemporary side rather than the modern works on display, with works by Georgina Gratrix attracted many seasoned collectors. Ed Young’s hyper real sculpture of his forearm with index clenched into a familiar gesture of insult also sold three editions for R45 000 giving the impression that people on the fair were willing to take risks.

However what the SMAC gallery seem to specialise in is paintings, with some experimental artists working in 2-D materials like Barend de Wet whose knitted works also reported to have sold. BLANK projects headed up by Johnathan Garnham who featured works by Kyle Morland, Jan-Henri Booyens and James Webb said that he had great response to his stand.

SA ART TIMES. October 2011

Selling mostly experimental and conceptual work, Garnham said his main aim during the fair was extend to the profile of Blank on a national level.

The Goodman also reported good sales with Brett Murray’s granite sculpture of apes in a compromising position being sold. The usual suspects of their stable also did well such as Kentridge, Hodgins, Goldblat and Langa and drawings by Kendell Geers also going.

What seems evident is that a lot of collectors were snapping up their usual favourites this weekend, with new international buyers coming on the scene. Many of the artists and gallerists present were all of the same opinion; that whilst the fair was about sales it nevertheless fills a vital gap in the sector where the art going audience gets to measure contemporary production.

What is also a healthy sign was the range of people actively engaging with the work on display. The fair was not solely about buying and selling but also about the appreciation of artwork in an informative infrastructure, which brings in new audiences. What is of interest now is to see whether this new interest has the longevity and impact to extend beyond the fair into other avenues of like museums and galleries or whether or not the fair will dominate the broad cultural imagination linking art solely to economics.

51

BUSINESS ART | ART LEADER

calm in chaos

When in Cape Town Refining the art of leisure

Calming life’s tempo Striking the right chords

Fine Jazz Fine Classics Fine Radio

52

SA ART

FNB JOBURG ART FAIR 2011 WALKABOUT | BUSINESS ART

SA ART TIMES. October 2011

53

BUSINESS ART | TRETCHIKOFF REVIEW

A Bitter Farewell to Tretchikoff Lloyd Pollak On the evening of Tuesday 27 September, the eve of the closure of the controversial “Tretchikoff, the People’s Painter”, a fiery and passionate panel discussion, marked by fiery audience participation, took place at the SANG. Despite the war of words, the question of why Iziko saw fit to glorify Tretchikoff’s blend of sexist and colonial racist bigotry with a retrospective at the National Gallery, never received a satisfactory answer. Lloyd Pollak, a panelist, writes a final word on the Tretchikoff debate.

Vivian van der Merwe of the Department of Fine Art at Stellenbosch University recently wrote a letter to the Sunday Times a propos “Tretchikoff, the Peoples Painter”, stating that Tretchi’s paintings “represent the worst kind of prejudice, voyeurism, crass racial stereotyping, sexism, cultural paternalism and white colonialism’.

Tretchi’s ‘Kwela Boy’ bears van der Merwe’s contention out. This is a profoundly patronizing image of a black subject depicted as sublimely unaware of his oppressed condition, devoid of any political consciousness, and happy in his innocence and simplicity.

The word ‘boy’ reeks of the racism whereby the colonial powers infantilized blacks and refused them adult status. Tretchi’s black musician appears completely devoid of insight into his disenfranchised condition and it is obvious that for the white audience of the apartheid era the appeal of such paintings lay in their utterly unproblematic portrayal of the indigenous people as happy, fulfilled and quiescent.

The artist never championed the cause of the underprivileged, and he certainly was not a ‘people’s painter’ in any humanitarian sense.

Instead of challenging apartheid, his work covertly endorsed the status quo by consistently portraying blacks and colored’s as picturesque ‘types’, rather than victims of oppression.

In his images of tribalised rural blacks like the ‘Ndebele Woman’, Tretchi divorces his sitter from their natural habitat and presents them against flat, limbo backgrounds of trompe-l’oeil wall-paper or fabric. The ‘Ndebele Woman’ is thus sealed off in a hermetic, artificial environment, and turned into an ethnographic specimen.

Such presentation implicitly presupposes the paramountcy of Caucasian norms by contrast with which the Ndebele woman appears irredeemably other. The garish blue highlights that play on her face are a further distancing strategy that emphasizes her alien identity.

Tretchi’s quasi-scientific display implies an anthropological precision and exactitude that are entirely absent, for in his native studies, Tretchi did not so much record appearances, as invent them, exoticising and fetishising his native subjects to such a degree, that his ‘Xhosa Chief’ becomes just as much of a decorative fantasy as his Dying Swan.

The ‘Xhosa Chief’, like many of Tretchi’s other black sitters, is posed before an animal pelt, a device used to evoke the untamed ‘dark continent’. However South Africa, where the scene is set, had long ceased to conform to such Romantic fictions. It was a society in the process of modernization where the railways, mining, industry and commerce were eroding the fabric of tribal life, and luring rural blacks away to the cities. Any evidence of these tensions between country and city, tradition and Westernization, is carefully suppressed.

Carol Kaufmann, curator of African Art at the Iziko SANG, maintains that Tretchi’s African studies portray ‘imagined generic types’ clad ‘in an amalgamation of different styles of different periods from different geographical areas’ that ‘feed colonial notions of anonymous romanticized subjects’. There is no attempt to achieve ethnographic accuracy in the ‘Xhosa Chief’. Such tribal leaders traditionally wore far larger headdresses. The sacrificial neckpiece is baby blue whereas in reality, such artifacts were always red or strong turquoise. A pale, mulberry-pink blanket replaces the burnt orange or cream blankets actually worn on such occasions.

The designs on the beaded choker bear no resemblance to the 54

genuine Xhosa artifacts.

Prettifying distortions turn Tretchi’s native studies into a fanciful African Disneyland, and the reek of the bogus attains stifling proportions in the Zulu Girl where the inspiration stems from Hollywood, rather than the anthropological field study, and the sitter is so glamorized she looses any ethnic credibility. Tretchi was interested in black sitters only inasmuch as they served as vehicles for his saccharine Technicolor extravaganzas, and he doctored their appearance, costume and adornment in order to bring them in line with the white colonial taste of the day. This criteria is never challenged. For Tretchikoff the imported standards of the ruling class were carved in stone, and he revamps the Zulu girl’s physiognomy to satisfy it, plucking her eyebrows and surgically correcting the thick lips, broad noses and widely flared nostrils characteristic of the black face. Any signs of genuine tribal body-decoration such as scarification face and body painting, and lip and ear-plugs, are completely expunged.

This super-elegant black Venus is the product of an imagination fed on Vogue and the fashion glossies, and the more one looks at her, the more one realizes that she is a hybrid with a black skin and largely Caucasian features. Her apparel is a costume designer’s caprice. She sports an off-the-shoulder gown and a carefully constructed couturiere’s turban rather than the simple scarf Zulu women wound around their heads. The jewelry has a smooth machine-made perfection, rather than the rugged asperity of handcrafted tribal adornments. Similar distortions of costume, accessories and physiognomy vitiate almost all Tretchi’s native studies.

Tretchi’s representation of Cape coloreds panders to colonial notions of them as a bastardized, morally degraded people. His costermongers are naturalistically handled, and their ravaged faces testify to a life of hardship. The semblance of realism goes hand in hand with a stagy over-inflation whereby his vendors become pure stage properties, specimens of ‘local color’, presenting their wares with hammy, larger than life attitudes gestures.

There is something decidedly ‘off’ about the womb-quivering gynecological symbolism enshrouding Tretchi’s vatic crones.

Their vaginal baskets, bundles and basins, and their phallic bulbs, lobsters and red hot pokers, associate them with procreation. THE HERB-SELLER, a massive, totemic, fertility goddess surrounded by big-bellied, uterine gourds and phallic tubers and roots, smiles in the certainty that she will triumphantly survive the Nationalist and United parties whose election posters occur behind her. She smirks at us with complete confidence, secure in the knowledge that we cannot dispense with her services. This grubby old harridan is so versed in the seamy matters of coitus and conception implied by her merchandise, that she resembles the conniving procuresses and bawds of Dutch 17th century genre. If you wanted to procure an abortion, hire a prostitute, or poison a mother-in-law, the Herb Seller would be the woman to whom I would apply.

Finally Tretchi objectifies the female sex by portraying women as readily available erotic commodities. His nubile black, white and Oriental beauties return the viewer’s gaze, and their glance is discreetly soliciting or frankly propositioning.

The virginal appearance and maidenly modesty of the naked girl with lowered gaze in the ‘Birth of Venus’ belie the truth for the painting is pure jerk-off pornography in which the goddess of love enacts a lurid scenario. Patently she offers herself to the male viewer, and only averts her eyes in order to encourage him to weave sexual fantasies around her. Venus ideally embodies yielding feminine submissiveness to the male libido, and the water gushing off her body becomes a symbol of orgasm, and an innocuous visual substitute for a Godalmighty discharge.

There can be no doubt that the great schlockmeister’s imagery embodies all the worst racist and sexist prejudices of the vanished Nationalist ascendancy.

SA ART TIMES. October 2011

Thinking of sellling?

Forthcoming auction in Cape Town 21 & 22 February 2012

Closing date for entries: mid-November 2011 ENQUIRIES Cape Town 021 794 6461 ct@stephanwelzandco.co.za www.stephanwelzandco.co.za

BUSINESS ART | RED CROSS CHILDREN’S HOSPITAL CHARITY AUCTION

Charity Art Auction raises final funds for burn unit at Red Cross Children’s Hospital On Saturday 03 September 2011, the Children’s Hospital Trust held its 2011 Art Benefit in aid of the Red Cross War Memorial Children’s Hospital, hosted by BoE Private Clients. This event took place at Leeuwenhof, official residence of the Premier of the Western Cape and raised over R4.2million from an auction of artworks from acclaimed South African artists – a total of R18million raised by this event since its inception in 2003.

The funds raised were the last funding needed for the upgrade of the new Burns Unit at the Red Cross War Memorial Children’s Hospital. The artwork was donated by artists, galleries and private collectors. The 2011 Art Benefit is the sixth auction organised by Amanda Bloch, Patron of the Children’s Hospital Trust, in collaboration with Linda Givon, founder of the Goodman Gallery and curator of the body of work that was 56

auctioned. Together with the Goodman Gallery and Stevenson Gallery, Amanda and Linda have created a partnership that has benefited thousands of sick children treated at the Hospital annually.

Art connoisseurs bid on phenomenal artworks from celebrated artists including William Kentridge, Wim Botha, Hasan and Husain Essop, Deborah Bell, Willie Bester, Steven Cohen, Kendell Geers, David Goldblatt, Pieter Hugo, Moshekwa Langa, Berni Searle, Penny Siopis, Mikhael Subotzky and Sue Williamson, amongst many others.

For more information on the Children’s Hospital Trust and the Red Cross War Memorial Children’s Hospital visit www.childrenshospitaltrust.org.za SA ART TIMES. October 2011

South Africa’s premier Fine Art auction house

Irma STERN, Poinsettias R 6 000 000 – 8 000 000

Important South African Art Auction in Johannesburg Monday 7 November 2011, 3pm and 8pm ENQUIRIES & CATALOGUES: 011 728 8246 / 079 407 5140

www.straussart.co.za

BUSINESS ART | ART INVESTMENT

As recession looms, should you spend large sums on coloured canvas?

By David Carte First published in Moneyweb JOHANNESBURG - As we all tremble at the threat of a double-dip recession, along comes a man from Sanlam Private Investments (SPI) suggesting that we invest in art. Stefan Hundt, points out that good art is an asset that generally appreciates over time.His art advocacy is well timed. Those interested can have a look at what’s on offer at the upcoming Joburg Art Fair sponsored by FNB at the Sandton Convention Centre. Hundt has no commercial interest in the show but reckons it is a good place to sample art wares.While there is risk, many art investments have outperformed the Dow in the US and the Alsi in SA. There is actually no definition of what constitutes art and the field is full of fakes, phonies and charlatans, so, to an outsider, it seems perilous.

The Art Fund market boomed in the US in the early 2000s but only a few survived the turmoil of the 2008 recession without experiencing losses.

In SA significant superb individual pieces still managed to break sales records. Good quality works by established SA artists have held their value but did not see the spectacular escalations of the five years before where, paintings by Irma Stern doubled every eight–ten months.

As Hundt says: “Anyone with enough money can buy a Bentley or a Lamborghini and the manufacturer will churn out more. But there is only one “Bahora Girl” by Irma Stern which sold for R26m (2010) at Bonhams in London. About a year later another painting by Irma Stern, a portrait of a prominent Zanzibari Arab painted in 1939 sold for R30m at Bonhams in London.

Measuring the performance of art works against other investments needs to be done with some circumspection. The market for established SA artists from the 1970s–1990s remained essentially flat. There were some peaks as prominent individuals, such as Chiavelli, Brett Kebble and Dave King entered as buyers. Prices rose in the late 1990s and accelerated exponentially in the 2000s, when it became clear that the commodities boom was going to be around for a while.

During the Great Recession of 2008 art prices offshore held up remarkably well. Indeed, as Lehman Brothers crashed, bringing down much of the financial world with it, Christies in New York sold 57 works for a record $348m.One painting by Mark Rothko fetched $50m and another by Lucien Freud $33m, which was the highest price for a living artist. Maverick British painter/sculptor Damien Hirst in 2008 sold a collection of his own works through Sotheby’s for £100m.

Art writer Lindsay Pollock said: “These people are so rich it doesn’t even matter. There are people all over the world who want this stuff, so it’s going to stay afloat.”Hundt cautions that it is a high risk business for the uninformed. There are no dividends or interest in an art work, no stock exchange or banking regulations.

But there is great satisfaction in finding a good buy. There is also the enjoyment (and the prestige) of the work while it hangs on your wall - and the prospect of a big (tax free) capital gain when you sell. Art also tends to be a long term investment.“The analyst who advises you on equities is generally playing a video based on the past. They are crystal ball gazers – no different from those of us who invest in art.”You can lose on art investments. While the best artists defy day to day economic trends, some fall out of fashion and disappoint expectations.You might even buy a fake.

One Frans Claerhout was recently bust in the Free State selling “genuine fakes” over the internet. A print by William Kentridge recently fetched R600 000. There are 50 such prints, so that values that particular Kentridge image at R30m, evidence, says Hundt that the buyer overpaid. The shrewd collectors who bought these prints at the time they were produced for R 1 700 are of course boundlessly happy. Kentridge’s “Drawing for the Film Stethoscope” was expected to go for R1.2m but actually fetched R2m. Kentridge is SA’s most expensive living artist.You don’t have to be a zillionaire to start. Some Pierneef prints and linocuts that were purchased for R2 000 have appreciated to R10 000 in quick time. Numerous works by well known artists can be had for R10 000 or less.Boerneef, the Afrikaans poet and lecturer, who knew a lot of artists who were his contemporaries, bought art works from people, such as Maggie Laubser and Pierneef. His collection, worth millions housed in a historical home called Welgenmeend in the Cape was built on a lecturer’s salary.

Hundt says some works by leading SA artists, such as Irma Stern, William Kentridge, Pierneef, Walter Battiss, Alexis Preller and Maggie Laubser, have given investors super returns. In the field of sculpture, Anton van Wouw sells for half a million or more and some Edoardo Villas for R300 000.Many of SA’s richest individuals have built up hugely valuable collections. The late Harry Oppenheimer’s collection can be viewed at

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Brenthurst. The late Dr Anton Rupert’s collection is now open for public viewing at the Rupert Museum in Stellenbosch. Paul Harris has a collection at Ellerman House, Cape Town.Some of SA’s biggest companies have valuable art collections, among them: Absa, which has the largest number of works. FNB and Standard Bank have numerous high quality works to adorn their palatial head offices. Sanlam, Telkom, Engen, Hollard, Woolworths and, of all corporates, the SABC, have outstanding collections. Richemont, also synonymous with Rupert, has a fine collection.

Under Anton Rupert many collections were compiled from the early 1950s. Two entities were formed to incorporate these art collections -the Rembrandt van Rijn Art Foundation for SA works and the Stuyvesant Foundation for international works.

The core of the Stuyvesant Foundation Collection finally moved with the unbundling of Remgro and the listing of British American Tobacco. BAT sold off the last of the collection last year. Rupert followed the lead of famous American collector Albert Barnes. Like Barnes, Rupert believed that good quality artworks enhance the working environment. In the 1960s, paintings were hung in the cigarette factory in Holland.

Since then almost every office block housing the Rupert companies contained art. Unfortunately corporates allow public viewing very rarely.

Sanlam has a permanent display of works open to the public at its head office in Bellville and Hundt regularly compiles travelling exhibitions drawn from the Sanlam art collection.

To avoid fakes, Hundt advises anyone looking at a work by somebody famous to see that it fits into his or her oeuvre. You need to find out how the work came into the seller’s hands and whether it has been in exhibition catalogues.

Often, even with a dead artist, there are those who knew him or her and can verify authenticity. Fakes are usually not sold in art houses of repute.

Hundt cautions that the SA market is infinitesmal by global standards and that prices in the last three years have been relatively subdued. Still, the top SA artists are becoming more widely appreciated. Bonhams of London holds two auctions of SA art a year.

He reckons that of SA’s population of 48m, only 4m have the means to buy art and, given our rugga bugga culture, only 1% of that number – 40 000 - actually pay for art. Perhaps 5% of that number – 2 000 – are serious collectors.Thirteen years ago there was only one auction house in SA selling SA art in Johannesburg and Cape Town and producing a catalogue illustrating the lots on sale. Now there are nine such auction houses.

Hundt advises those considering art first to acquire some knowledge of the subject. It is actually quite a pleasant and rewarding task to visit galleries, to devour art books and to exchange ideas with the cognoscenti before buying.One can follow established stars or, once one has an eye for quality, try to spot a rising star who will get the nod of connoisseurs in the future.“Look at the producer’s pedigree, his commitment and versatility. Is he recognised by peers and institutions that matter? Look at the catalogues, read the articles.”

It might be safer to invest in established names. Buying contemporary artists, he says, is like going into the AltX market. That said, Hundt says young SA artists have an edge that you don’t find in Europe. Hundt says you must have a strategy and look for the right work at the right price.

The state of the work is important. A small scratch can render a work by a famous artist a lot less valuable.

Hundt has a fine arts degree from Wits and has been in art all his life.

When he was curator for the Oliewenhuis Art Museum in Bloemfontein he bought 15 paintings for R10 000. Today they are worth millions. At SPI he helps clients to value works and advises them on their purchases. He charges an hourly rate for his services.

Hundt warns beginners against simply buying what they like. Avoid what he calls “saccharine nostalgia”. That chocolate box of idealised Cape mountains with sunbeams, or quaint little fishing villages with boats, has probably been replicated many times is of doubtful value.

Avoid anything that is churned out like the curios at the side of the road in William Nicol Drive. He advises beginners to visit the serious art galleries in Pretoria, Johannesburg and Cape Town.

“Whoever produced it, the work must be of high quality and in good condition.“There are many subjective aspects. People talk about taste and say beauty is in the eye of the beholder. But an investor has to take into account the consensus on what is good. Our visual literacy has declined because of TV, which serves up a conveyor belt of visual garbage. We have become insensitive to visual imagery.

“People don’t look carefully and just expect to recognise immediately the meaning of artwork and when they are confronted with something that isn’t instantly comprehensible they summarily reject it as not being art.

“With such a limited vocabulary of vision how on earth can anyone hope to make a good decision when all they want is what they like? One final caution - just because it’s expensive doesn’t make it good either.”

SA ART TIMES. October 2011

STEPHAN WELZ & CO./ SA ART AUCTIONS 2010 REVIEW |

The South African Sale Wednesday 26 October New Bond Street, London Gerard Sekoto (1913-1993) ‘Horse and Cart, Sophiatown’ oil on canvasboard Estimate: £250,000 - 350,000 (ZAR 2,900,000 - 4,050,000) +44 (0) 20 7468 8213 sapictures@bonhams.com

SA ART TIMES. October 2011

International Auctioneers and Valuers - bonhams.com/sasale

BUSINESS ART | NUSHIN ELAHI’S LONDON LETTER

NUSHIN ELAHI’S LONDON LETTER October 2011 In the dim gloom of the newly extended Maritime Museum in Greenwich a large-scale immersive installation is perhaps melting some entrenched views on the destruction of polar ice. High Arctic: Future Visions of a Receding World (until 13 January) springs from a trip in September last year where artists and scientists were taken on a voyage in a 100-year-old wooden schooner to the Svalbard archipelago in an attempt to encourage dialogue between the disciplines.

It was a brave move on the part of the museum to open their extension with this exhibition as it is one that demands participation from the viewer. Unless you are prepared to stay and listen, the impact will be minimal. Exploring the twilight of the space, however, it becomes a powerful record of a place most of us will never see for ourselves.

Looming up around you are blocks representing glaciers, their names visible only under the beam of a UV torch, while patterns of light play on the floor. Some swirl like snow in a blizzard, some break and melt as your torchlight picks them out, or show a disoriented compass, or black mass of pollution, but all respond to you. And in this half-dark, sounds swirl just as the light, and the stories you pick out are those of travellers who have been to this place, many of whom left only words as testament to their expedition.

So we hear of Wally Herbert, who crossed the North Pole two weeks before man stepped on the moon and returned home to find his exploits forgotten; Nils Strindberg, who flew over the Pole in a balloon and toasted his approaching death with champagne in 1897; the 29-year-old William Parry who describes his men performing plays on the quarterdeck of his ship in the early 1800s; the dog that survived two balloon trips over the pole or Pytheas the Greek, the first person to describe the midnight sun and the polar ice in the fourth century BC. The achingly sad stories give an idea of the isolation and terror of the Arctic wastes, but you do need to listen to the silence, to tune in to the wavelengths of the land and the sea to truly appreciate the exhibition.

The large elegant spaces of the Saatchi Gallery lend themselves to showing off sculpture at its best. As the man who nurtured the now-established Young British Artists, Charles Saatchi is the undisputed patron of the arts. Unfortunately, The Shape of things to Come: New Sculpture, on until 16 October, is a disappointment, with a couple of exceptions. The work is not only from young artists, yet there is a sense of such slipshod execution and conception that it is sometimes difficult to believe these are established artists.

David Altmejd in The New North creates a gigantic creature of tat, while Thomas Houseago’s droopy cut-outs, Rebecca Warren’s oversized clay figures or Berlinde de Bruyckere’s stuffed spineless animals are perhaps commenting on the ephemera of our world, but with little substance or intelligence to them.

Peter Buggenhout’s pieces made of household dust simply look like the innards of a vacuum cleaner, and even ideas are recycled. Dirk Skreber’s cars bent around a pole only make one think how clever John Chamberlain’s originals were. Some of the sculptures with light by artists such as David Batchelor and Anslem Reyle are more interesting and the lifelike giant figures by Martin Honert create an intriguing spatial tension.

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A permanent installation by Richard Wilson, 20:50, with black sump oil flooded across the room is undoubtedly the most mesmerising of all, and one that restores one’s faith in the artistry and creativity that seems so lacking in the rest of the work. An eerie silence fills the room, with the clear reflections of the oil creating a fascinating play of images and spatial textures. Nothing on the New Sculpture exhibition has the monumental power of this piece, which dates back to 1987.

Leonardo da Vinci: Painter at the Court of Milan opens next month (9 November to 5 February) at the National Gallery and is the most complete display of Leonardo’s rare surviving paintings ever held.

While numerous exhibitions have looked at Leonardo da Vinci as an inventor, scientist or draughtsman, this is the first to be dedicated to his aims and techniques as a painter. Inspired by the recently restored National Gallery painting, The Virgin of the Rocks, it concentrates on the work he produced as court painter for the Duke of Milan in the late 1400s.

The exhibition examines Leonardo’s pursuit for perfection in his representation of the human form. Works on display include La Belle Ferronière from the Louvre in Paris, the Madonna Litta from the Hermitage in St Petersburg and Saint Jerome from the Vatican in Rome. The final part features a near-contemporary, full-scale copy of Leonardo’s famous Last Supper, on loan from the Royal Academy. Seen alongside all the surviving preparatory drawings made by Leonardo for the Last Supper, visitors will discover how such a large-scale painting was designed and executed.

This is definitely one to make sure you don’t miss in London this winter.

Another landmark exhibition in the city is at the Royal Academy and focuses on Edgar Degas’s preoccupation with movement as an artist of the dance. Degas and the Ballet: Picturing Movement (until 11 December) traces the development of the artist’s ballet imagery throughout his career, from the documentary mode of the early 1870s to the sensuous expressiveness of his final years.

Former Turner Prize winner Grayson Perry has curated an exhibition at the British Museum entitled The Tomb of the Unknown Craftsman, which is on show until 15 February. This features his new works alongside objects made by unknown men and women throughout history from the British Museum’s collection. “This is a memorial to all the anonymous craftsmen that over the centuries have fashioned the manmade wonders of the world. The craftsman’s anonymity I find especially resonant in an age of the celebrity artist,” says Perry.

Elsewhere in London, the V&A explores what postmodernism means in the exhibition Postmodernism: Style and Subversion 1970-1990 until 15 January.

The Frieze Art Fair is one of the world’s most influential contemporary art fairs and takes place from 13 to 16 October in Regent’s Park. With over 170 galleries, it showcases new and established artists to an international audience. This year the artists commissioned to create site-specific works for Frieze Art Fair 2011 are: Bik Van der Pol, Pierre Huyghe, Christian Jankowski, Oliver Laric, LuckyPDF, Peles Empire, Laure Prouvost and Cara Tolmie.

SA ART TIMES. October 2011

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STEPHAN WELZ & CO./ SA ART AUCTIONS 2010 REVIEW |

A scene from the immersive exhibition High Arctic.

Rebecca Warren, installation shot, The Shape of Things to Come

Leonardo da Vinci (1452–1519). Portrait of a Woman (La Belle Ferronnière), about 1492–4. Oil on panel, 63 x 45 cm, Musée du Louvre, Paris

SA ART TIMES. October 2011

Edgar Degas: Little Dancer Aged Fourteen, 1880-81, cast c. 1922. Tate.

Grayson Perry, The Rosetta Vase, 2011. Courtesy the Artist and Victoria Miro Gallery, London © Grayson Perry. Photo: Stephen White

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Andries Gouws – Pedestrian Paintings Standard Bank Gallery Johannesburg, 26 October-3 December 2011 (011 6311889) Pretoria Art Museum, 8 December 2011-26 February 2012 (012 3441807) KZNSA Durban, 6-25 March 2012 (031 2023686) For exhibition catalogue with texts by Michael Godby, Sally-Ann Murray & Gerhard Schoeman, e-mail gouwsa@durbs.com

Diane Victor: Three small things 1992, etching

It’s the small things in life that really count the most in the end

We stock over 2 000 original and investment type prints by both leading SA artists, as well as simply amazing prints to enjoy try our walk in, choice, and no fuss framing delivery service

The South African Print Gallery 109 Sir Lowry Road, Woodstock, Cape Town, Pioneering Printmaking view our website at www.printgallery.co.za call 021 462 6851